Portland Oregonian's Scores

  • Movies
For 3,195 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 5.5 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:
3,195 movie reviews
  1. More solidly crafted and insults its audience quite a bit less than its predecessor, and it sets up several nice emotionally complicated cliffhangers for the next installment. I hope its target audience has a blast.
  2. Every so often there's a tabloid news story about the Virgin Mary seen in a piece of toast or Mother Teresa on a tortilla, and most of us equate them with Elvis sightings. This film is for the rest.
  3. Full of small, weird moments.
  4. Don't go in expecting much and you'll have fun. Consider it The Rock's "Raw Deal."
    • 44 Metascore
    • 58 Critic Score
    It's a sweet-natured trifle that sneaks in some social commentary about the modern military and the failings of the American educational system, and it takes a wide swipe at advertising for good measure. [03 Jun 1994]
    • Portland Oregonian
  5. It is off-putting at first, then refreshing, then downright touching. In short, it works.
  6. An ugly, stupid movie it turned out to be. Incoherent, arbitrary, hyperactive and dark enough to make you fear you've gone blind.
  7. An unsteady mixture of treacle and dark comedy that never feels as "dark" as it pretends. Though well-intentioned, it's not terribly compelling.
  8. One might reasonably despise Funny Games and consider Haneke an exploitative hypocrite. Still, whether it's the original or the replica, this is a film that is impossible to enjoy and difficult to forget.
  9. Opens with a statement that Hillary Clinton, Bob Dole and Al Sharpton are not in the movie. Also not in the movie: laughs.
  10. If the film had been trimmed to 45 minutes of crazed storm-chasing and storm-fleeing, it might've been worth a matinee ticket. But as is, it's the sort of lazy late-summer idiocy you'd be wise to huddle beneath an overpass to avoid.
  11. Befitting a film about Edgar Allan Poe, The Raven is dark and grisly and ghoulish. But it also has qualities that Poe's work never does: It's dull and mechanical and, most of all, phony.
    • 44 Metascore
    • 25 Critic Score
    Sudeikis has always been a charming comedic actor. He usually doesn't have to work this hard for laughs.
  12. It's not that Hangover II is a notably bad movie. It's more that nothing in it seems to justify all the effort spent to add a new but nearly identical series of episodes to the original.
    • 44 Metascore
    • 25 Critic Score
    Kyra Sedgwick is turned into a caricature of a sports agent. "NYPD Blue" grad Gordon Clapp gets one line of dialogue. And Morris Chestnut is pushed out to make room for one more "ain't she cute" moment.
    • 44 Metascore
    • 50 Critic Score
    Mary Reilly tries, but fails, to revive the oft-told Jekyll and Hyde horror story. [23 Feb 1996]
    • Portland Oregonian
  13. A mild disaster.
  14. An unsteady and uneven film, which bangs up against its ambitions gracelessly and distractingly.
    • Portland Oregonian
  15. An unfortunate example of a small picture that feels small.
    • Portland Oregonian
  16. You'll suspect, and even hope, that what's on screen is a hoax, but it seems to be at the very least one version of the truth.
  17. 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.
  18. Unfortunately, the film's charm ends with the plot gimmick.
  19. 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.
  20. 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.
  21. 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.
  22. The bright spot, again, is Grant.
  23. Unfortunately, the dialogue undermines the movie's promise.
  24. A breezy, dumb and lightweight film that has the benefit of not trying terribly hard to be about much of anything and succeeding (bravo?).

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