Portland Oregonian's Scores

  • Movies
For 3,369 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 4.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 The Quiet American
Lowest review score: 0 Yu-Gi-Oh!: The Movie
Score distribution:
3369 movie reviews
  1. The revelation is Arquette. While the focus is on Coltrane and how he grew up onscreen, it's Arquette that's at the center of this incredible journey. She puts herself out there year after year, getting knocked down and getting up stronger. Her final scenes have the power and heartbreak every parent knows -- it's all about holding a child's hand, then letting it go.
  2. Thirty-five years since its debut, The Conformist is still a stunning, challenging, transporting film.
  3. Can a film so expertly capture the odious and bitter that it becomes deliciously, disgustingly beautiful? Yes, if that film is 1957's Sweet Smell of Success.
  4. The protagonists have subsumed their identities to the collective, and they rise and fall in their hearts as the collective prospers or suffers. Their effort is absurd, but their intent is pure. Watching it evokes a combination of pity for their naive idealism and awe at Melville's uncanny brilliance.
  5. Del Toro presents one dazzling visual spectacle after another.
  6. But the human elements -- jealousy, anger, weakness, fortitude, loyalty, vengeance and honor, all acted out by a resolutely realistic cast -- make the movie extraordinary.
  7. A grueling film in both technique and subject matter.
  8. Is it a silly movie? At times, yes. Is it creaky and blatant and obvious? Quite often, absolutely. But should you miss it in this splendidly colorful restoration? Not on your life.
  9. Ran
    In many respects, it's Kurosawa's most sumptuous film, a feast of color, motion and sound: Considering that its brethren include "Kagemusha," "The Seven Samurai" and "Dersu Uzala," the achievement is extraordinary. [01 Dec 2000, p.26]
    • Portland Oregonian
  10. Telling Northrup’s story, McQueen gives a grand tour of the institutionalized sadism and astonishing inhumanity ubiquitous in the slave economy.
  11. Hilarious. And more proof that Pixar is in a class of its own.
  12. Gravity isn’t as ambitious as “2001,” but then, what is? It is, however, absolutely a worthy successor, a masterpiece of hard science fiction, and the movie to beat at this point for next year’s cinematography and visual effects Oscars.
  13. Beauty and the Beast is so funny, exciting and suspenseful that its obvious moral (appearance can mean nothing; it's what's inside that counts) is engaging rather than perfunctory. [22 Nov 1991, p.15]
    • Portland Oregonian
  14. The experience of watching Carol is like being pulled into a different place, real and not real, like the best movies, like being in love.
  15. Shot to shot, scene to scene, The Social Network nearly never puts a foot wrong or, really, does anything to make you feel less than compelled.
  16. Viewers looking for a propagandistic take will be disappointed, but even those who doubt the overall framework and existence of the so-called War on Terror should appreciate this thrilling tale of the hunt for the world's most wanted man.
  17. It happens to be splendidly acted and to be poised, as a narrative, on a knife's edge (the final shot, at a great moment of indecision, is utterly haunting). But, chiefly, it's a portrait of an essential and sympathetic human dilemma, and in that it's both real and timeless in ways that transcend borders, cultures and languages.
  18. Miyazaki is a genius, and this film is a masterpiece; go see it.
    • Portland Oregonian
  19. Having heard tell of its wonders for decades, I found the actual movie less transporting than I'd been led to expect. It's clearly a brilliant debut.
  20. A movie as bold and deep as a Turner landscape, as sharp as light on water.
  21. Episodic and, at times, overwrought. And occasionally its deliberate opacity becomes too cloudy. But the things that shine through are remarkable. War is indeed Hell, it tells us, but that isn't necessarily a bad thing if you're filled with demons.
  22. It's a justifiably G-rated film, but parents may have some 'splainin' to do.
  23. Gets under your skin without you quite being able to say when or how. It has the tact to let you draw yourself in to it.
  24. It's a horrific tale, filled with fear, confusion, anger, disfigurement, and loss. Weissman and Weber don't milk the pathos and they don't have to. Their interview subjects are brilliantly chosen, not only for their specific vantage points on the events but for their eloquence and depth of feeling. Time and again, the spoken and visual record of what happened overwhelms you.
  25. From the acting to the special effects to the landscapes to the cinematography, editing and music, to the details of decor, wardrobe and armaments, we never once feel that we are in anything but the hands of an absolute master of the medium.
  26. Inside Out expands the possibilities of animation. It's also a hilarious ride that delights the eye, the mind and the heart.
  27. 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.
  28. While what's on screen is unsparing and clinically presented, the underlying, almost invisible humanity and artistry of the film inspire rather than depress.
  29. A spell-binding, engaging and often breathtaking work in which exquisite sets, costumes, photography and music combine with top-notch acting and out-of-this-world fighting scenes.
    • Portland Oregonian
  30. A snapshot of what happened at a particular time and place and doesn't try to glamorize its subjects or make any larger points about what it all means. By refusing to do so, by celebrating the process over the outcome and the work over the reward, it becomes a special experience, a movie that matters.
  31. Films don't get more essential than this.
  32. The big-screen reissue offers a rare chance to admire the marvelous production details.
    • 93 Metascore
    • 91 Critic Score
    Paley's production shines with brilliance and great humor.
  33. As flawless as any film this year and rock-solid confirmation that Joel and Ethan Coen are the greatest filmmakers working in America (and perhaps anywhere else) today.
  34. Mathieu Amalric, best known as an arms dealer in "Munich." In a role that strips him entirely of vanity and denies him virtually every expressive tool, Amalric makes a genuinely touching impression.
  35. A modestly scaled, sharply observed film.
  36. Sissako, whose previous film, 2006's "Bamako," also tackled political issues with aplomb and complexity, doesn't need to craft an overwrought denunciation of ignorant fanaticism. The humanism with which he approaches both the perpetrators and the victims of the violence inherent in this petty, small-minded tyranny makes the strongest argument possible against the Boko Harams of the world.
  37. 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.
  38. It's first-rank filmmaking, through and through, even if it struggles to find closure.
  39. One of the great marvels of the medium, a film that you cannot miss if you hope to be literate in cinema -- or, indeed, if you seek acquaintance with the great works of modern times.
  40. In the year's least surprising news, Toy Story 3 continues Pixar's near-perfect streak.
  41. Brilliantly colored and passionately acted, Moolaade teems with incidents, personalities and drama and is never less than vivid.
  42. A gorgeous, engrossing, utterly alien and fresh movie that has the human truth and impact of classic Greek myth and the overwhelming beauty and mastery of the greatest epic films.
    • Portland Oregonian
  43. It is a pure, streamlined delight, the advent of a talent with no exact equal in modern film.
  44. The Queen is all-together remarkable not only for what it is but for what it isn't.
  45. 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.
  46. It's a fascinating look into what Spielberg truly loves, but it's not so much a masterpiece as a nice milestone. [2002 re-release]
    • Portland Oregonian
  47. What's most endearing about "Taxi," as well as Panahi's earlier films made under repression, is the lack of righteous anger.
  48. It easily is the most beautiful picture released in America so far this year, perhaps one of the most beautiful films ever made.
    • Portland Oregonian
  49. The film ends on an absolutely sick-making note, with live-action footage of the massacre and its aftermath.
  50. In the main this is a muscular, exact and thrillingly cool movie.
  51. For a film that consists largely of a series of talking-head interviews, The Gatekeepers is a riveting a documentary.
  52. Ida
    Just as austere and demanding as you'd expect a black-and-white film about a Polish nun to be. Don't let that scare you, though.
  53. One of the best films ever made in this country, filled with our proudest national virtues, cognizant of our deeply rooted human weaknesses and frighteningly able to evoke emotions.
  54. With a level-gazed approach to its milieu, empathetic but clear-eyed, Winter's Bone practically makes up for 40 years of "Deliverance"-style hillbilly cartoons.
  55. An unrelenting and important exposé of a system that, as depicted here, has no place in the modern world.
  56. No matter how many times you've seen it, you marvel at how terrifying, gorgeous and surreal the jungle, the yellow napalm and, finally, the disturbed face of Martin Sheen lying under a swirling fan appear on the large screen. This is indeed, a dream.
  57. It's raw, visceral stuff that precious few movies are capable of equaling.
  58. Her
    As the relationship between Theodore and Samantha evolves, it hews too closely to the expected arc of a romantic drama. In a desire to show how such a pairing could produce the same joys, sorrows, jealousies and insecurities as a human-to-human one, the movie edges close to parody, which it doesn't want to be.
  59. It's as full a movie as you can imagine -- exhausting and exhilarating and continually fascinating.
    • 90 Metascore
    • 100 Critic Score
    Hawke is not a brilliant actor, but here he rises to the occasion: Every inch of him registers the weight of this moment.
  60. It's hilarious, thrilling and filled with "life-truth" -- but it also conceals its effort under a layer of great writing and subtle craftsmanship.
  61. Long and sometimes grueling, but it never feels indulgent or excessive. In order to be subtle about the horrifying transformation he records, Audiard needs to let it unfold slowly, so that only when we reach the end can we see Malik as a new man who has come unimaginably -- and terribly -- far.
  62. One lucky guy, on a roll with rock.
    • Portland Oregonian
  63. Thoroughly unique work of art.
  64. I am here to tell you that Greengrass has fashioned one of the most powerful films I have ever seen, and that watching it makes you value your loved ones and your privileges more, perhaps, than you ever have. He has made a film that makes you feel, makes you think and makes you want to connect. And that, finally, might be the greatest thing that art can do.
  65. Mad Max: Fury Road sets new standards in old-school stunt work and car chases and does it in service of an idea-driven story with a beating heart and an action star for our troubled times in Charlize Theron.
  66. Franju conjures images -- sometimes gory, sometimes poetic, sometimes fantastical -- that genuinely haunt: the essence of the cinema distilled.
  67. More than just a good crime story about the guilt or innocence of Arnold and Jesse Friedman. It's also a fascinating portrait of a seemingly normal middle-class family crumbling before our eyes.
  68. There’s plenty of fun to be had, but in the long term, American Hustle may be remembered more for its superficial pleasures than the depth of its impact. Kind of like the 1970s.
  69. It's refreshing that something once considered terribly new and modern can still feel contemporary three decades later.
  70. You can learn about the grand shifts of history from Persepolis, but you learn about a handful of lives as well.
  71. The Act of Killing is exemplary as a history lesson, a character study and a powerful argument for confronting the past.
  72. It's a bento box of shifts, feints, hints and small, sharp insights, built around a surprisingly deep core of feeling. And it confirms Coppola as an artist to watch and relish.
  73. In exchange for a small piece of your life, you receive an infinity.
  74. It's so full-blooded, smart, sexy, tense and absorbing, so cleverly written and shot and cut, so filled with superb acting and music, so perfect in its closing moment, that it surely ranks with the most impressive debuts in world cinema.
  75. The second action melodrama released in the United States this year by director Zhang Yimou, and if I prefer the previous one, "Hero," it's partly a matter of degrees.
  76. Takes on the air of a heist film as the preparations proceed, and even knowing the outcome, tension still remains.
  77. As slapstick, as satire, as sheer gut-busting comedy, Borat is top notch.
  78. At over two hours, it might test the patience of some younger viewers (and some impatient older ones as well), but for anyone willing to take the time, it's an utter treat.
  79. Two Days, One Night is timely and timeless, a social statement about current economic conditions and a parable about individual and community. Cotillard's performance is revelatory, one to be admired and studied for generations.
  80. It's hard to say what's more fascinating: The engaging explication of various paintings by the remarkably articulate docents, the behind-the-scenes looks at the preservation and restoration processes, or the boardroom discussions about the appropriateness of marketing efforts. Actually, that third one probably isn't the most fascinating, but I still wanted more of it.
  81. The first to take a big-picture view of just how the plans for postwar occupation went so far off track.
  82. German director Christian Petzold's new movie is a testament to the way textured performances and a skillfully woven script can entice a remarkable suspension of disbelief.
  83. The acting is flawless, the world feels utterly real, and the finale accomplishes the miracle of finding in the everyday world something profound.
  84. A film this heartfelt and intelligent about social justice will never be unimportant, but it feels especially relevant today.
  85. A wonderful documentary.
  86. It's a bit precious, yes, but its earnestness and joy carry you along, and its climax simply delights.
  87. Adventuresome, melancholy and exhilarating.
  88. Letters isn't a fun night at the picture show. It's slow and gloomy and achingly tragic. But it's a truly impressive achievement both in moviemaking and in its understanding of history.
  89. Music aside, what finally puts Once over and makes it a film you can watch more than once is its slight but thoroughly credible realism.
  90. Teems with pot smoke, body parts and profane outbursts -- you ride a giggly wave throughout, jokes and turn-ons and shocking sights alternating in buoyant fashion.
    • Portland Oregonian
  91. This is an awesome performance in an outstanding film, a film worthy, if you can imagine, of the book at its heart.
  92. Sergei Dvortsevoy's unclassifiable, verite-style film (shaky-cam alert!) is an endearing mix of intimacy, attention to detail and decidedly local humor.
  93. Because Whiplash is two characters in search of a plot, it ramps up the happenstance and improbability as it stumbles toward a final showdown between teacher and student that would be emotionally satisfying if it had the ring of truth.
  94. If it can seem like there's no end of films about the Holocaust, it might be because there is no bottom to the well of crime, inhumanity and evil described by that ghastly event.
  95. The Grand Budapest Hotel shows Anderson engaging with the world outside his meticulously composed frames like never before.
  96. The screenplay, which Ceylan and his wife Ebru based on short stories by Anton Chekhov, is wordy but insightful. The widescreen cinematography, capturing the natural wonders that make Cappadocia a popular tourist destination, is crisp in exterior shots and delicately shaded indoors. And the performances are never less than totally convincing.
  97. Poitras' footage of what happened in Hong Kong is at the heart of Citizenfour, her new movie, and it is enthralling, a rare look at a crucial historical event as it happened.
  98. Recoing's performance is chillingly low-key -- sometimes you can swear that he believes his own fictions -- and Livrozet, making his film debut, has a perfect long-in-the-tooth charm.
    • Portland Oregonian

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