Portland Oregonian's Scores

  • Movies
For 3,373 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 4.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 The Social Network
Lowest review score: 0 Fair Game
Score distribution:
3373 movie reviews
  1. When a film like Stories We Tell comes along, you're reminded how powerful and universal even the most intimate and individual lives can be when captured with intelligence and perspective.
  2. So good at what it does that it can exhaust you: In the later going, one big number follows on the heels of another so quickly that it feels more like an opera than a regular musical.
  3. Malle, only 25 when the film was released, bounces confidently among several threads -- classic French policier, juvenile delinquent film, doomy tale of tragic love, clock-ticking thriller.
  4. It's an ending that may alienate some viewers, but will jolt others out of their comfort zones and into an appreciation of genuinely brave storytelling.
    • 82 Metascore
    • 91 Critic Score
    The film is all the more remarkable because its actors are untrained and their lines are improvised. Clearly, they've lived this.
  5. 5x2
    A sort of anti-date movie, a smart but deeply cynical study in failure, with our sense of loss growing in direct proportion to the characters' romantic hopes.
    • 75 Metascore
    • 91 Critic Score
    Medal prediction: The green guy is golden.
  6. One of those undeniably beautiful things. The film is, in fact, an encyclopedia of beauty -- the beauty of desire, the beauty of nostalgia, the beauty of music and clothing and smoke and pain, and, chiefly, the beauty of women.
  7. It's the type of film that may be forgiven its imperfections when they are compared with the vastness of its accomplishments.
  8. Akin is German-born but of Turkish heritage, and his films have often been concerned with the particular clashes and conflicts between those cultures. This film, though, does so in a much more oblique way than 2004's "Head-On."
  9. One of the most alluring and bizarre shapes that Godard's itchy search for truth and meaning took in those heady long-ago days. In comparison, most Hollywood movies are like tiddlywinks.
  10. Beautiful, poetic, mournful, at once rich and spare, Brokeback Mountain takes a daring conceit and creates of it an overwhelming work of art that should speak to anyone capable of love.
  11. It has laser gun fights, forbidden love, and a rollicking group breakout from a fascistic old folks' home. What more could anyone want?
  12. Working toward its refreshingly light but utterly apt ending, the film teems with insights into the human condition revealed by an unusually smart script and a wonderfully committed cast. It's a truly fine work.
  13. [Guterson] has crafted a near-masterpiece of understated humor and empathy, demonstrating that, despite Hollywood's usual indifference, it's possible to make authentic, funny, engaging films about characters over the age of 50 who are neither grizzled hit men nor sassy grandmas.
  14. Watching it isn't easy, but it is definitely worth having waited for.
  15. It's raw, visceral stuff that precious few movies are capable of equaling.
  16. It’s a story that begins in an ancient riddle and ends, perfectly, in the rumble of an oncoming storm. It’s about life, A Serious Man is, and it’s as close, I think, as any American narrative movie of recent vintage has come to touching on the uncanniness of it.
  17. It's a sexy thriller, tautly constructed, deeply acted and heartfelt, despite a cool and knowing tone.
  18. Monster House makes its intentions clear: It wants to wrap you in a thick, warm blanket of 1980s nostalgia.
  19. It's almost numbingly sad, but you won't regret watching -- and you'll surely never forget it.
  20. The halting dialogue, full of awkward pauses and restarts, seems improvised in the way that only carefully scripted material can.
  21. Inside Out expands the possibilities of animation. It's also a hilarious ride that delights the eye, the mind and the heart.
  22. The first of von Trier's efforts to be certifiably farcical.
  23. A purely cinematic experience. You've got to see it, in other words, to understand.
    • Portland Oregonian
    • 58 Metascore
    • 91 Critic Score
    August: Osage County goes to some heavy places, upturning long-buried resentments and secrets. It can be a lot to take at times, but Letts’ knack for dark humor, and Streep’s flawless delivery of the same, allows for levity when the tale is at its most bleak.
  24. It's a movie about having a sibling and all of the pain, joy, love and anxiety that that entails: a movie, in other words, for almost everyone.
  25. Burstyn is astonishing, forsaking all vanity to make silly biddy Sara a fully dimensioned human being.
  26. Finding Forrester achieves a distinct success few Hollywood movies can even dream of: It overwhelms and inspires with understatement.
    • Portland Oregonian
  27. It's no wonder that Polanski, himself an artist who has survived a series of nightmares, should tell it so naturally and powerfully.

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