Portland Oregonian's Scores

  • Movies
For 3,213 reviews, this publication has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 5.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Blue Ruin
Lowest review score: 0 Rollerball
Score distribution:
3,213 movie reviews
  1. The problem here is we never get much more than the pretty, the quaint and the comfortingly familiar. There's a place for such stuff in the world, yes, but that doesn't make it art.
  2. Isn't just a horror film, but an American classic. Watch again and reflect for days after -- at your own risk.
    • Portland Oregonian
  3. Somewhat marred by Bruno Coulais' treacly New Age score -- as well as by Perrin's somewhat daft and repetitive narration. But the key word is "somewhat." In the main, Winged Migration is an unforgettable piece of moviemaking.
  4. Isn't easy to watch, but it's beautifully written and acted, with a sharp eye for the small embarrassments of divorce.
  5. Crowd-pleasing, feel-good stuff.
  6. Nair takes mostly low-key material about a traditional Indian family raising kids in America and turns it into something sensual, funny and quietly devastating.
  7. It's visually appealing, but embodies the movie's (and Frances') problem: wanting to be taken seriously without putting in the real work required to prove you're actually serious.
  8. An alternately harrowing and poetic take on the fatal 1982 hunger strike of Irish Republican Army prisoner Bobby Sands, Hunger is also one of the most impressive feature directing debuts in years.
  9. You can't help getting emotionally involved, and as the central outrage -- a case of judicial negligence that would seem unbelievable in a work of fiction -- plays out, you feel the pain and anger that Bagby's family and friends experienced. Then the story takes a final, horrible twist that's almost too much to endure.
  10. A hilarious, touching, profound and inspiring film about art and dreams and self-belief and the goggle-eyed hope that you can will a miracle into reality through sheer effort and desire.
  11. The Trip doesn't really go anywhere you didn't see it heading, but it's worth the journey.
    • 82 Metascore
    • 83 Critic Score
    Much has been made about the fact that the world's most popular fictional children are growing up and straight into that horror-filled no man's land of the human life span, puberty.
  12. At once spare and dense, chilly and thrilling, literate and visceral, it feeds in gray areas, teasing ambiguities and conundrums out of shadows and making strengths of inconclusiveness and uncertainty.
  13. Credit the great Bruno Ganz with creating a vivid Hitler: furious, unsteady, crushed and frankly cracking up.
  14. Social critique isn't the main concern of director James Ponsoldt ("Smashed"). What he does is take us inside an unexpected, but not unrealistic, high school relationship and provide a splendid stage for two young and very promising actors.
  15. It's one of the great horror films of recent years -- and a welcome antidote to the in-your-face sonic assaults that all too often pass for genre fare.
  16. A mental workout of the most invigorating sort.
  17. As numbing as the drumbeat of downbeat documentaries can be, as hard as it is to even be shocked at the depravities committed in our name, a film like this remains important, both as an indictment of the present day and as a warning to future generations that the ends don't always justify the means.
  18. It may, finally, be the best and last word on the man, his music and his myth that we ever get on film -- an estimable achievement in itself.
  19. The tension between the comely and comforting manner of the film and its undecided and beguiling content is, arguably, Haneke’s signature touch.
  20. An all-hell-breaks-loose, panicky fever of a story, all of it drenched in grainy, color-saturated cinematography.
  21. The film verges on hagiography as one interviewee after another testifies to Dominique's positive influence on his nation, but in this case the cynical notion that there must be another side to the story is easy to tamp down.
  22. The longer it goes on, the more you're swept up into the jet stream of good feeling.
  23. Kaurismäki is a master of expressive stillness for whom inaction often speaks louder than words, and the performances he elicits are perfectly pitched, including young Miguel's.
  24. The notions of sacrifice, patriotism, race and self-identity are compellingly questioned, and the battle sequences are realized with stirring intensity.
  25. My Summer of Love, with its lush, sunlit landscapes, may occupy the opposite end of the visual spectrum, but it reinforces the sense that this director knows his way around the range of human emotion as well.
  26. Though you get caught up in the criminal element (you really want these people to get away with it), you're also fascinated by who to trust. It's an unusual dance between the awkward and plain that becomes romantic and thrilling -- a subtly impressive feat to say the least.
  27. Because make no mistake: The Dark Knight is many things, some of them deliriously fun, some of them deeply impressive, and some of them puzzling and frustrating. But most of all it is dark.
  28. It's not a happy film, but it feels true.
  29. Doesn't give off the same happy feel of the Indian arranged-marriage movie "Monsoon Wedding." Rather, it poses hard questions and leaves them unanswered.
    • Portland Oregonian

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