Seattle Post-Intelligencer's Scores

  • Movies
  • TV
For 2,749 reviews, this publication has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Gosford Park
Lowest review score: 0 Domino
Score distribution:
2,749 movie reviews
  1. A slick, smart-alecky rat-a-tat crime comedy.
  2. Where other documentarians look for a charismatic personality to enliven their films, Berlin and Fab focus on the community as a whole.
  3. It's more admirable than enjoyable, beautifully crafted and artfully unpleasant.
  4. A richly textured thriller.
  5. As a portrait of a collaborative artist at work, the film is an invaluable document, not to be missed by anyone with more than a passing interest in theater.
  6. It's a romantic fantasy of the gangster brotherhood and their doomed lives, executed with Takeshi's unique mix of stoic ruthlessness and giddy energy.
  7. Really two movies working against each other. One is a feel-good movie -- But the more intriguing movie is a tragedy that studies the subtle but long-lasting impact of the teacher's single moral lapse.
  8. Dark farce, a four-handed game of sexual trumps.
  9. It's Shakespearean in its political machinations and closer to "Saving Private Ryan" and "Starship Troopers" than to "Dracula" or "The Howling."
  10. Suffers from a simplistic reductionism that suggests buying from local organic farmers might help avert the possibility of a worldwide famine triggered by Monsanto's suicide gene. It is a noble and quaint solution to a situation that won't be easily swayed by consumer votes.
  11. The embittered men make fascinating subjects.
  12. Jordan unites his favorite actors -- Liam Neeson, Stephen Rea, Ian Hart and Brendan Gleeson -- with the swoony presence of the talented 29-year-old Cillian Murphy.
  13. Once you get the joke and grasp the aesthetic they're after, it's fun, and it almost works on the steam of its clever plot mechanics.
  14. A deviously delightful entertainment.
    • 68 Metascore
    • 75 Critic Score
    An often touching and always intriguing look at the fall and rebirth of a nation and the resilient spirit of its women.
  15. Quite a bit of fun. In fact, in its own good-natured, silly way, it works better than most of the year's other adventure-gutbusters.
  16. This remake is considerably different and, for once, the changes have not hurt the film.
  17. Salvadori's homage is a bittersweet, funny, sporadically charming and consistently entertaining love story between two "kept" people.
  18. While it's flawed and often tedious, Kaufman's script is, on the whole, boldly imaginative and enjoyably challenging.
  19. Lacks the cohesive flow of "Fantasia" and suffers from an attention deficit that seems to mark and flaw our current fast-paced technological era.
  20. This tale of kooky social misfits finding their place in the world is an audience pleaser, for all the reasons such tales usually are.
  21. There's not enough insight to the social phenomenon presented onscreen, but that doesn't make the utterly human horror of this thriller any less unsettling.
  22. It definitely gives us our money's worth in the sheer volume of its imaginative fantasy creatures and it's that rare superhero-movie sequel that's better than the original.
  23. Yes
    From the floating particles of dirt that open the film to the final image of a man and woman on a beach, Yes insists that we live with our mistakes since there is no escaping them.
  24. Its power and bite come from the contrast Seinfeld makes with Orny Adams, a younger comedian on the verge of success who is everything Seinfeld is not: hungry, vain, petty, mean-spirited, desperate for recognition.
  25. A delight and a surprise.
  26. Love it or hate it, X-III packs more action and razzle-dazzle visuals into its 104-minute running time than "Mission: Impossible III," "Poseidon" and "The Da Vinci Code" combined.
  27. An absorbing but somber drama.
  28. The film's strength is compelling character relationships and Whedon's trademark dialogue, a smarter version of the cliched action-movie barrage of wisecrack under fire, only better executed, laden in personality, and enriched with evocative western colloquialisms of a frontier culture.
    • 36 Metascore
    • 75 Critic Score
    A first- or second-date flick, after which there can be some Cheesecake Factory and maybe a peck on the cheek, no harm done. What Happens in Vegas is pleasant enough for all of that (and it sidesteps all that "Forgetting Sarah Marshall" raunch).
  29. As well made, entertaining and seductive a showcase for Hanks as it is, the movie doesn't have a magical impact and doesn't stay with you. And while you're watching it, there's always some slight annoyance, inconsistency or motivational-lapse to slap your face in almost every scene.
  30. It's a tough movie with a fearless performance by Bacon and brave filmgoers will be rewarded with a bracing experience.
  31. It may not be art, but A Dirty Shame is shameless fun.
  32. It's a nicely crafted little ensemble piece, but -- like so many films that have become the rage in France in recent years -- it's surprisingly light and forgettable.
  33. A fascinating ride through morally ambiguous territory to a place you've never been before.
  34. It's far from his (Allen) career best, but it's funny and he comes off well.
  35. A nifty little neo-film noir that's a lot more intriguing and watchable than half the films that make it to the multiplexes.
  36. Kahn manages to turn his feast of flesh, navel-gazing talk and self-destructive jealousy into a thoughtful reflection on the subject.
  37. Andrew Bujalski's refreshingly modest look at life in the directionless netherworld between college and career is the rare film that finds its story in the minor contradictions and simple conflicts of ordinary people doing, well, not exactly nothing, but nothing important.
  38. A reminder of the offbeat comic sensibility and visceral charge that marked him (Sabu) as a director to watch.
  39. The concept is clever and Johnson's brisk editing, dynamic camerawork and snazzy transitions has fun with it all. It makes for an inspired time-warped teenage film noir.
  40. As a grueling "trip" movie and cautionary tale of the nuclear age, K-19 fits the bill. The harsh depiction of everyday life in the Soviet navy and numerous scenes of seamen exposing themselves to lethal doses of radiation are profoundly disturbing.
  41. The pleasure of watching such well-crafted entertainment offsets the small disappointments.
  42. There are certain rare movies that speak to us solely through the power and initiative of their visuals. This is one of them, and if you're receptive to this kind of movie, and know Vermeer's work, it's an unusually satisfying, even enriching experience.
  43. In his lifetime, Fuller longed for a restoration of what he considered his most personal film. Schickel's version is a labor of love that, despite the controversy it is bound to ignite, comes close to fulfilling the director's vision.
  44. An Americanized remake of the 1983 Japanese movie, "Antarctica," which told the true story of a pack of huskies that somehow managed to survive a brutal winter by themselves at Japan's East Antarctica station in 1957.
  45. An edgy comedy with heart.
  46. Has one knockout sequence: the deaf maestro conducting his Ninth Symphony as Anna coaches from the wings. It goes on for what seems a whole reel, but it's so sublime it seems too short and, by itself, could stand as one of the greatest classic music videos ever.
  47. Peled's film, much of it shot clandestinely with smuggled cameras, is commendable in its fair depiction of the problems faced by the textile industry.
  48. It's a taut, unexpected study that asks many questions about retribution and redemption.
    • 61 Metascore
    • 75 Critic Score
    Overall, the film contains personal and political stories, as well as the macrocosm and the microcosm of chaos, rage, sadness and confusion.
  49. It's pure romantic fantasy, almost too cute and naively innocent for its own good. Jeff Balsmeyer, a former storyboard artist making his directorial debut, stumbles through the clumsy establishing scenes, but his playful direction smoothes out as the characters settle in.
  50. A rather likable and very sweet-spirited story.
  51. Far from his best work ("Le Placard," "Le Jaguar"), but even off-form Veber has its moments of inspiration and the movie is definitely worth seeing.
  52. If you're not a die-hard "Bean" fan, this is probably no place for you. But it's mercifully short (87 minutes), the French scenery is pleasant, a handful of the routines are hilarious and -- with its G rating -- you can definitely bring the kids.
  53. The cast is engaging, the overall visual effects are tremendous and I found myself fairly swept away for most of the fast-moving, three-hour running time.
    • 64 Metascore
    • 75 Critic Score
    Let's call this "High Fidelity Nano." It's a little bit less in every way, lighter and cuter than its archetypal elder, but it might just fit your present lifestyle all the better. Who needs to go back to the polysyllabic spree of John Cusack channeling Nick Hornby when you have Michael Cera making awkward emo look so lovable?
  54. Enormously cute, but it doesn't allow us to ever completely suspend our disbelief.
  55. It's as much conceptual art as dispassionate survey of the bloodless assembly line nature of the modern food industry, all process and work, automation and repetition.
  56. The movie works -- at least marginally.
  57. Witherspoon is terrific.
  58. This is a film about brave women who left home as teenagers and have been on their own ever since. Now, nearing the end of that road, they face their inevitable decline with a cheerful vivacity.
  59. In its best moments, The Cats of Mirikitani captures both the tragedy and transcendence of his life, from the Sacramento-born, Hiroshima-raised youth who returned to the States in 1937 rather than join the Japanese Imperial Army, to the proudly self-sufficient man who struggled through New York's fierce winters until gaining recognition both as an artist and a human being.
  60. While not a grand-slam comedy, the offbeat humor and easy byplay gives The Grand a winning hand.
  61. Even though she's (Khouri) determined to give us feel-good entertainment, she's not at all afraid to let the darker moments be very dark indeed.
  62. After a rough orientation, it kicks in to be a visually enthralling, viscerally rousing, politically fascinating epic of the old school that evokes the pleasures of the great spectaculars of the Hollywood past.
  63. The movie year's most expensive and ambitious sci-fi spectacular, I Am Legend, is three movies in one: a futuristic effects-o-rama, a zombie thriller and a survivalist parable. Each is better than average, and the experience is fairly gripping.
    • 67 Metascore
    • 75 Critic Score
    For about an hour, the movie is essentially Budweiser ad humor writ long ("Dude!") but about halfway through -- after enough members of the "Knocked Up"/"SuperBad" dude squad have all made their requisite cameos -- the movie shows it has a little heart.
  64. In spirit and nuance, this is an amazingly faithful remake.
  65. Oddly fresh and naively chipper.
  66. The faces of its inarticulate characters tell the story, and Majidi has put some amazing faces on the screen.
  67. The new black-and-white print is gorgeous, the film plays well in this broader key and it sets the historical record straight.
  68. It's hard to call it thrilling -- these aren't characters you actually care about and De Palma isn't as concerned with building tension as playing visual games -- but it sure sparkles.
  69. It's still primarily a showcase and offbeat star vehicle for Moore. It's a bravura role and she brings it off with a chilling malevolence and a strange, disjointed vulnerability that almost, but not quite, makes her sympathetic.
  70. The film walks a fine line between contempt for Polanski's crimes and sympathy for his trials and his screwed-up psyche, and it manages both while showing us why he fled the U.S. rather than face the corrupted judicial circus.
  71. With adventurous forays into questionable neighborhoods and stimulating tours through street markets, "Crossing the Bridge" is about the city as much as its music.
  72. It's a well-made little inspirational drama featuring both a familiar older star (James Garner) and a new one (Abigail Breslin).
  73. It's often surprisingly clever, dripping with respect for its model, and done with considerable wit and style.
  74. An entertaining slice-of-life documentary that gets ever more fascinating as it moves along.
  75. A comedy of miscommunication that blends the humanism of Jean Renoir, the magic of Jean Cocteau and the absurdism of Eugene Ionesco.
  76. John C. Reilly, with his homely face and mop of curly hair, has been the movies' second banana of choice since his debut in 1989's "Casualties o War." In the comedy, Walk Hard: The Dewey Cox Story," he finally gets a starring role and he rises to the challenge.
  77. The script is full of brassy lines.
  78. All of Scorsese's movies deliver a mixed message, but this one is downright schizophrenic.
  79. Murders aside, Mac and Pat are the most fun-loving Shakespearean couple to hit the screen, and Morrissette's answer to Lady Macbeth's damned spot is brilliant.
  80. The humor is sweet-spirited, the dialogue (all improvised by the cast) is acerbic and witty, the celebration of unbridled tackiness is often hilarious.
  81. A documentary that is half confessional memoir.
  82. Stiller is enjoyably long-suffering, and De Niro convinces us that Attila the Hun would make a preferable father-in-law.
  83. It's a surprisingly happy film, almost completely devoid of bitterness or cynicism.
  84. Don't expect scary from this trilogy of short horror films from a trio of Asia's most interesting directors, which are not so much extreme as twisted.
  85. Donovan makes us totally believe the character and his predicament, co-star Mary-Louise Parker is especially witty and winning as the film's screenwriter.
  86. Grant's timing is flawless, his delivery is perfection, and he once again demonstrates himself to be the movies' unrivaled master of sophisticated verbal comedy.
  87. With very few natural gifts, Bingenheimer managed to spend his life doing something he loved among people he worshipped. At the end of the game, very few people can make such a claim.
  88. Driving Lessons was written by director Jeremy Brock as a vehicle for Grint and Walters, who appeared together in the Harry Potter movies. They make a terrific screen couple. Walters is alternately zany and poignant, with Grint the perfect foil, a bemused, confused innocent who only wants to do good.
  89. It's no earthshaker, but the indie film is refreshingly different from the current movie norm, it's won more than 15 awards on the festival circuit, and war-movie aficionados will find it well worth the journey.
  90. Director Cherie Nowlan creates vivid personalities for the entire family and exposes the raw nerves of the biting humor.
  91. There's an unconvincing warm, fuzzy happy ending, in which recognition is treated as cure and understanding heals all. But, until then, Phoebe in Wonderland is an involving and empathetic drama of mothers and daughters.
  92. The triumphs still are affecting, the setting is compelling and some of the human moments amid the political circus and culture wars are downright moving.
  93. After all of these years playing smug street thugs, cocky idiots and patsies, can you blame Dillon for giving himself an elegant girl (Natascha McElhone), a devoted guardian angel, and a little redemption?
  94. Scratch could use some of the wit and jagged energy that defined "Hype!"
  95. Kassovitz keeps the film zipping along with solid pacing and just enough action to clear the credibility gaps as long as the film is rolling.

Top Trailers