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 Pulse
Lowest review score: 0 What Love Is
Score distribution:
2,749 movie reviews
  1. Eloquent and informative.
  2. Hartley's soft spot for offbeat romances is trumped by irony and sloganeering dialogue.
  3. It's a pleasure to see and hear so much wit in a big-budget comedy, and the fine British cast of supporting actors makes every bon mot a tasty verbal morsel.
  4. Original, imaginative and stylish.
  5. The result is a painful and poignant film at once empathetic and critical, more soberly unnerving than exciting, but never less than compelling.
  6. 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.
  7. The movie is a fascinating, if often confusing, mix of dramatized scenes from the novel, re-created and actual interviews with Desclos.
  8. The simple, unpretentious storytelling of Unleashed is a rarity in the glut of underwritten and overproduced action films that dominate American screens today.
  9. It may set itself up as a girlie film with "Ya-Ya" mystics (complete with candles and chanting), but sheds that motif for a much more grounded (and satisfying) film.
  10. Stunningly beautiful film.
  11. There is such a joy of play in the film that it's easy to overlook the overdone performances and the lazy script shortcuts.
  12. Steel and Morris are simply a couple of ordinary citizens who stand up for their ideals and their rights in the face of intimidation. Which is what makes this underdog story matter.
  13. 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.
  14. The director's tenacity has resulted in a breathtaking as well as heartbreaking adventure of life and death.
  15. Salles tends to explain rather than suggest, but he connects with the anguish and abandonment to give this ghost story an emotionally haunting core.
  16. It's done with an agreeable confidence and flair, the actors all fit comfortably in their roles and the effects are fun.
  17. The hit-and-run destructiveness of the rapacious media is nothing new, but Cordero gives his cynical take a unique setting and a queasy climax.
  18. It's a rare film that gets smarter as it goes along, injecting a satisfying dash of pragmatism every time it seems ready to slip into either unearned idealism or cynical fatalism.
  19. The story is pure speculation, Van Sant's fantasy on what may have happened during those final days of self-isolation, but he loads the film with distinctive imagery.
  20. It makes for an unusual angle on the era, and a passionate paean to the power of books, ideas and art.
  21. Subtly suggests it may not be all that much different from the delusions by which other cultures are structured.
  22. The rough, exposed emotional candor of Cheung's singing voice carries into her performance.
  23. It's a barrage of visual stimulation so excessive that it's hard to sort it all out. But it's often funny, its texture can be breathtaking and its pleasures likely will grow with repeated viewings.
  24. Fernando Meirelles's MTV-grandstanding worked for "City of God," but it's just not necessary for, and gets in the way of, a script this literate and solid. In the end, The Constant Gardener works in spite of, not because of him.
  25. Fukada captures the stubborn individualism of a girl who embraces an unpopular lifestyle.
  26. 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.
  27. But the movie soars as docudrama. Niccol's model seems to have been Scorsese's "GoodFellas" and, like that film, the blitzkrieg of images and rapid-fire narration takes us on a breathtaking inside tour of a scary world. It's an extraordinary expose.
  28. Panayotopoulou casts a transcendent eye upon her downbeat subject matter, never dodging the unsentimental truth that growing up is about learning to live with the loss of those things we have loved.
  29. Most disappointing is the ending, which, in projecting the possibility of a saner and more hopeful world, is a bit of a cop-out.
  30. The most fascinating aspect of the film is how the point of view shifts -- each character, as seen through another's eyes, is something else entirely.
  31. It's absorbing and often excruciatingly suspenseful, and it gives Viggo Mortensen a strong, change-of-pace vehicle to follow up his "Lord of the Rings" triumph.
  32. The movie is 23 minutes longer than the Lean version, yet it somehow seems much less evocative of the novel's immense scope and texture. And its Cockney accents are such a strain to understand that as much as a third of the dialogue is indecipherable.
  33. 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.
  34. The movie constantly verges on being a parody, but Moore's performance stays miraculously away from caricature.
  35. The film is highly critical of America's counterterrorist efforts, and not at all subtle in making the point that our stupidity and Nazi-like methods have helped create -- and vastly acerbate -- our problems.
  36. A fascinating ride through morally ambiguous territory to a place you've never been before.
  37. Overcooked and simplistic in spots.
  38. The embittered men make fascinating subjects.
  39. As the film loses its focus on the "Protocols" phenomenon -- it becomes too scattered to have the impact Levin is after.
    • 61 Metascore
    • 75 Critic Score
    Cage trots out all of this character's flaws in a form so raw and true you can't help but cringe in your seat as he careens from one self-inflicted interpersonal failure to another.
  40. 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.
    • 67 Metascore
    • 75 Critic Score
    Jonah Bobo and Josh Hutcherson -- may have delivered their parts just a wee too convincingly. Their squabbling is so pitch perfect that most adult viewers likely will want to reach through the screen and start crackin' some heads.
  41. "Clouds" fills its exteriors with the glory of the Utah mountains and its interiors with the work of the late Hopi artist, Dan Lomahaftewa -- a pleasing combination that gives the film its own special visual style and magic.
  42. Silverman is funny and, more often than not, so is the film.
  43. 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.
  44. 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.
  45. The film attempts to put Zizek's philosophy into practical, accessible terms. Accessible, of course, being a relative term.
  46. Working for the first time in live action, under the constraints of a classic novel, he (Andrew Adamson) proves himself to be a capable visual storyteller but no Peter Jackson.
  47. Brosnan pulls out all the stops in his quest to be the last word in crude boorishness, only slightly relieved by the midlife soul-searching. Whether the public will buy him in this extreme role is another question. But it's a fearless, and fairly skilled, comic performance.
  48. It's a consistently funny script, tastefully packaged by super-producer Brian Grazer and directed with just the right touch by Dean Parisot.
  49. T. M. Griffin's script is imaginative and clever.
  50. The film manages to be an intriguing, grimly entertaining, strangely haunting little slice of heartland noir very much in the experimental tradition of such previous Soderbergh oddities as "Schizopolis" and "Full Frontal."
  51. If Arlyck's own life feels unworthy of the attention, Sean's illuminating, unconventional and contemporary story makes up for it.
  52. Winterbottom carves his own intimate tale out of the sprawling material, a modest miniature with witty flair and moments of humility.
  53. To its credit or detriment (depending on your point of view), the film doesn't have an agenda, or make any kind of systematic argument as to how quantum physics likely will impact the 21st century. It just looks at the wondrous evidence and asks us to imagine the possibilities.
  54. Martin, who hasn't really clicked in a movie in years, hits the target this time with an Inspector Clouseau who is even more relentlessly annoying (and strangely endearing) than Sellers managed to be in his last several outings.
  55. 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.
  56. Not since Spike Lee's "Bamboozled" has such an irreverent carnival of African American stereotypes been so irreverently sent up.
  57. Some audiences will find it an endurance test and Reygadas doesn't make it easy with his confrontational imagery, but he provokes emotions not often explored on screen.
  58. Bekmambetov's tone is so gravely serious that the drama tends to become arch and theatrical, despite sardonic punches of dark humor. But his imagery is striking (his imagination overcomes his limited budget), his style is assured and he's given the subtitle adaptation a dramatically dynamic dimension by giving the words the presence of an incantation taking physical form.
  59. The orderly and clean drama is more like theater than history come to life.
  60. The film doesn't shy away from the political side of hip-hop.
  61. The overall saga is moving, the performances are first-rate, the production values (which do not rely on the usual cartoonish CGI effects) are strong, and Carion captures the special insanity of stalemated trench warfare with an unusual horrific flair.
  62. Behind the dry humor is a sense of hollowness in the two men who obliviously fall back into old patterns of reckless, loveless sex without missing a beat.
  63. Almost 30 years later, it's just as primal.
  64. The spirits of Jim Jarmusch and Kevin Smith hover over this breezy slacker comedy set on a comatose Sunday afternoon.
  65. This unusual journey behind prison bars is not only a plea for the rehabilitation of incarcerated criminals, but a testament to the redemptive powers of art.
    • 45 Metascore
    • 75 Critic Score
    Most of the laughs are due to Bynes, a vibrant young actress with excellent comedic chops.
  66. It's a simple film with a direct message, but the glimpses of the surrounding social culture that has adapted to the horrors give this Third World "How Green Was My Valley" its identity.
    • 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.
  67. What it lacks is an intensity, a passion at the center...It is, nonetheless, a lovely and often powerful film.
    • 69 Metascore
    • 75 Critic Score
    A funny, freaky, fiendishly good flick that might just find a following beyond the standard cadre of horror fanatics.
  68. 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.
  69. With more sympathy for Johnston's suffering and less reveling in the fruits of his madness, The Devil and Daniel Johnston could have been a great film instead of a disturbing one.
  70. While most of the film is well-written and acted, there are some difficulties. Aniston's Olivia is hard to figure.
  71. Mullan is a great choice as Frank, playing the silent guy with all kinds of baggage perfectly.
  72. "Network" it's not. Weitz doesn't have the killer instinct for merciless satire but he knows how to stage a gag and deliver a punchline.
    • 57 Metascore
    • 75 Critic Score
    Don't let the title trick you. The British comedy Kinky Boots is probably the most kinkless film featuring fetish wear ever to strut its stilettoed heels across the silver screen.
    • 58 Metascore
    • 75 Critic Score
    Hard Candy is not perfect, but it is a provocative piece of filmmaking with a dark and daring heart that makes it worth seeing.
  73. It's a tricky tonal dance that Watt, minor missteps aside, glides through with feeling.
  74. Takes a humorously gentle approach to the culture clash between the primitive and the modern. With wonderfully natural performances by the children, this is a family movie that crosses cultural boundaries in a celebration of the magical possibilities inherent in everyday objects.
  75. Throughout the film, music is used to define character and place. Two metal bands, Moral Decay and South Central Riot Squad, dominate the soundtrack whenever the gang is on the move.
  76. Pape Sidy Niang is terrific as the cop, Z, who is viewing America through a new immigrant's eyes.
  77. As clumsy as the movie is in many ways, it strings together maybe a dozen situations in which we are absolutely, excruciatingly, on the edge of our seats -- which is to say that the new Poseidon essentially does its job.
  78. 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.
  79. The film is so well acted -- by Byrne, who makes Harry's internalized agonies and continuously carried torch for his ex-wife touching, and by Watson and Hoult -- that its more cloying moments, including a staged version of the musical "Camelot" (which is too long), are a moot point.
  80. Behind the sad and vulnerable eyes of Bernal's damaged Elvis is both a fierce rage and a desperate need for his father's recognition, but he's more enigma than person. Hurt is more nuanced as the sincerely spiritual man faced with a past that threatens his family and his future.
  81. A thrilling and scary ride.
  82. An inspirational portrait of an unwanted kid who brought culture to a world that had known only violence.
  83. The messy emotions and illogic of human nature defines this drama.
  84. In the latest of what is getting to be a booming genre of Iraq war documentaries, director Deborah Scranton gives digital video cameras to five members of the New Hampshire Army National Guard so they can intimately record their year of service in the Middle East.
  85. With adventurous forays into questionable neighborhoods and stimulating tours through street markets, "Crossing the Bridge" is about the city as much as its music.
  86. Bullock has abandoned all her usual cutesy mannerisms, and Reeves is as low-key and convincing as he's been in a role. Whatever else the film is, it's a competent and enjoyable star vehicle.
  87. A harrowing, frustrating view of paranoia and ineptitude that may seem a case of being in the wrong place at the wrong time but evolves more into a mystery.
  88. It's Kang's first feature and it suffers from rocky moments and an unsure eye, but his sense of detail is rich with prickly contradictions and he resists tidying up the story.
  89. There is an element of murder mystery and an edge of conspiracy thriller to Chris Paine's documentary about the rise and fall of General Motors' EV1 (Electric Vehicle 1).
  90. The film is weirdly fascinating in its own maverick way.
  91. The film's near-fatal flaw is its dialogue, which had to be invented wholesale from the Old English text. It alternates between sounding stagy and anachronistically hip -- with more overuse of the F-word than any two Samuel L. Jackson movies. It's a big mistake.
  92. The Groomsmen, while as corny as a Staten Island marriage proposal, rings true on many levels.
  93. 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.

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