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 All Is Lost
Lowest review score: 0 Underclassman
Score distribution:
3373 movie reviews
  1. Despite some arresting visual flourishes and Downey’s inherent likeability, it’s nearly incoherent both as cinema and as story. No, this isn’t your grandfather’s or your father’s Sherlock Holmes, but if theirs featured Basil Rathbone or Jeremy Brett in the lead, it was better by miles.
  2. A tepid disappointment that contains one mediocre chase scene and a lot of wasted talent.
    • Portland Oregonian
  3. It's a forgettable series of bullet points barely strung together by charismatic performances.
  4. The performance of Bening (and, quietly, Irons) keeps Being Julia from being too tiresome.
  5. The scenes between Gainsbourg and Skarsgard are fewer and less engaging than in the first volume, and the dichotomy between them is simpler and more obvious. And that doesn't even include an ending that is as impulsive and deranged as anything Joe comes up with during all of her taboo-breaking adventures.
  6. Are Will Ferrell and director Adam McKay getting tired of their own shtick?
  7. As far as the company Redford keeps, I liked it better when he hung out with Paul Newman and Sydney Pollack, but those days are long gone.
  8. The picture's strength is comedy -- but the love and crime stories too often drag, falter or just plain frustrate.
  9. Chris Rock probably has a solid writer/director effort in him. This isn't it.
  10. The problem is that so little in this version of All the King's Men speaks to the here and now or even speaks clearly. It feels like a repertory exercise -- and not a very successful one at that.
  11. Fuqua has made three films before his newest, Tears of the Sun, and they've all begun well enough but then collapsed under the weight of his heavy-handed visual technique and his indifference to plot, character and logic.
  12. Hilariously, gut-bustingly, mind-blowingly, jaw-droppingly stupid.
  13. Decent performances aside, the only interesting bits involve Geoffrey Rush as a chemistry professor who enables their self-abuse.
  14. This film might've worked better as a comedy.
  15. Too sugary to be funny or offensive or even offensively funny, though any kind of funny would be welcome here.
    • Portland Oregonian
  16. Understated fun, but not much more.
  17. Unfortunately, the film loses its merciless rage toward the end, devolving into a stock and broadly comic thriller about unpleasant people you never quite get to know.
  18. This film disappointingly feels like a sometimes brilliantly acted, often gorgeously filmed re-enactment of the television show "Unsolved Mysteries."
  19. The potentially huge audience for Million Dollar Arm deserves a better movie, less derivative and cynical and more like something real.
  20. Two-thirds of the way through, it falls apart into TV-movie-of-the-week land, even with the rhapsodic Nastassja Kinski in the lead.
  21. In I'm Reed Fish, Jay Baruchel is cast as a leading man with two attractive girlfriends, and, sorry, I'm frankly more prepared to accept Stephen Hawking as an action hero.
  22. The two stories never come close to meshing the way the filmmaker intended. The result is a well-acted movie that simply doesn't gel.
    • Portland Oregonian
  23. With little cohesion and no respect for the editing process, Old School often feels like someone threw film clips on the floor and strung them together willy-nilly.
  24. Rush gives everything he has and manages to make Oldman (such an obvious name) into more than an automaton. Not so Sylvia Hoeks, who struggles to make Claire any more alluring than oil dripped on canvas.
  25. Comedy means different things to different people, but I'm pretty sure that most everyone agrees that it's best when it's quick and funny. The Five-Year Engagement is neither.
  26. As satire, it doesn't add up -- but it's an admirable, if dull, experiment.
  27. It's just another bland, junior-high-basketball riff on "The Bad News Bears" formula, one that takes every single dramatic cue from the underdog sports-movie playbook.
  28. Keaton offers glimpses of a directorial gift, but this odd little piece feels like a warm-up for something more compelling.
  29. By and large it's formulaic and dull.
  30. There's visual poetry here, in small doses, but it doesn't take long for one's patience to run out.

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