Portland Oregonian's Scores

  • Movies
For 3,172 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 5.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 A Girl Walks Home Alone at Night
Lowest review score: 0 M. Butterfly
Score distribution:
3,172 movie reviews
  1. It's lovely, truly, but so heavy-handed and slipshod that it's probably best enjoyed with the sound off -- an option they're not likely to offer at the movie theater.
    • 44 Metascore
    • 67 Critic Score
    It's well-acted and works as a cautionary tale for young dope dealers but beats any hint of subtlety into a bloody pulp.
  2. Unfortunately, the film's charm ends with the plot gimmick.
  3. When the fly trapped in the spider's web is as clueless and selfish as the sap played by Mark Webber in 13 Sins, it's hard to muster much sympathy.
  4. Fonda gets some of the movie's best moments as the sexually frank, silicone-enhanced mom who got rich off a best-selling memoir that exposed her children's intimate habits.
  5. May be fairly funny, sort of sweet and slightly muddled, but one thing about it is utterly certain: It loves, loves, loves some bad cabaret.
    • 44 Metascore
    • 58 Critic Score
    Thriller is hardly the word for this tedious exercise in clue-hiding.
  6. The bright spot, again, is Grant.
  7. Unfortunately, the dialogue undermines the movie's promise.
  8. A breezy, dumb and lightweight film that has the benefit of not trying terribly hard to be about much of anything and succeeding (bravo?).
  9. For all the beauty it struggles to bring forth, Snow Falling on Cedars is painfully prosaic.
  10. Surprise! Crystal has given himself most of the best lines, though he also allows a Doberman to have its way with him.
  11. Remove the razzle-dazzle provided by Azaria, Hoffman, Baldwin, the gross jokes and that ferret, and you wind up with a pretty dull and ordinary face.
  12. The title notwithstanding, "Frontier" is unlikely to be the last in this series. Slow as it is, and disappointing as some of the special effects are, "Frontier" still has some effective humor. Things go just well enough to inspire hope that the level of "IV" can be reached again. [9 June 1989, p.F09]
    • Portland Oregonian
  13. An unfunny, undramatic comedy-drama that asks us to care about lying idiots making implausible choices.
  14. Although there is some gimmickry, this is one of the most straightforward versions of the Tempest ever filmed, making it edifying as well as -- when Taymor hits a groove -- dazzling.
  15. Transplanting so much of the original story to a 21st-century setting only amplifies how badly the story has aged.
  16. For a Hollywood studio movie, you see, The Mexican is remarkably strange and eccentric with a plot like a wrinkled bed sheet and a black comic sensibility that consistently swerves away from the cliches that have been established in this Age of Tarantino.
    • Portland Oregonian
  17. The minute the movie flashes forward seven years and Castro takes over as Affleck's grade-school-age daughter: The whole enterprise suddenly becomes rather charming.
  18. A stultifying bore.
  19. It's not that The Beach is a stinker, exactly. It's that nothing in it -- and that includes the gifted DiCaprio -- ever feels other than perfunctory.
    • Portland Oregonian
  20. Wiseman's PG-13 remake isn't as funny, or vivid, or splatter-tastic. It contains no mutants, inflating heads, trips to Mars, or freaky little psychic dudes named "Kuato" emerging from people's stomachs. But it does a decent job setting up an unsubtle dystopia.
  21. Miscast, clumsily staged and ideologically wobbly.
  22. It's Zahn who truly conveys what Marshall and Barrymore are going for -- laughing through your tears.
  23. Affleck is in the middle, engaging in derring-do, pitching woo to Uma Thurman and making the whole thing come off as less exciting than it should have been.
  24. Deeply phony, strangely static, disengaged, flaccid and, quite often, silly, it’s a film that tries to bully you into emotions with flourishes of music, contorted camera angles, screams of special effects, smears of gore, and earnest close-ups of its woefully miscast star.
  25. Tt is a comeback, and if it leads the director to better work, it can be forgiven as a warm-up.
  26. 360
    As the action moves from Vienna to Paris to London to Denver to Phoenix and then back again, the vignettes blur into one another.
  27. Freedomland is the worst kind of bad movie: one that thinks it's important.
  28. When characters are required to grow old over the course of a decades-spanning story, as in Love in the Time of Cholera, it's still a hit-or-miss proposition whether the combination of makeup and performance skills will convince us that a character is 40 years older than the actor.

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