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 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Marcel Proust's Time Regained
Lowest review score: 0 Underclassman
Score distribution:
2749 movie reviews
  1. The film shoehorns in every memorable character from the original film.
  2. Condon's direction is steady and fearless, Neeson and Linney are individually excellent and together they create an inspiring chemistry for a truly adventurous marriage.
  3. A quietly, somberly effective American indie drama.
  4. Doesn't necessarily offer anything new to the male/female dynamic, but it refuses to let Coles off the hook with an easy epiphany and a painless happily ever after.
  5. The director's tenacity has resulted in a breathtaking as well as heartbreaking adventure of life and death.
  6. Its only constant is that it's strangely eloquent and quite original.
  7. 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.
  8. 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.
  9. A few scenes are a bit coy and the "big secrets" threaten to pitch into melodrama, but Birmingham keeps bringing the film back to the delicate dynamics of the relationships at its heart.
  10. McNamara finally gets to tell his side of the story -- and is somewhat humanized in the process -- but still comes off looking like a tragic character living in a state of denial.
  11. Hardcore remains, in the words of Minor Threat's Ian MacKaye, the voice of "kids who refuse to be slotted into generic kids roles," so fans of current groups such as Disturbed may feel shortchanged by allegations that it was all over by 1986.
    • 62 Metascore
    • 75 Critic Score
    In this sequel, magic still reigns but suspending disbelief doesn't come as easily.
  12. It's a twisted but beautiful love letter to a city, not factually correct but emotionally true.
  13. Stylistically, Religulous is very much like a Michael Moore documentary, in that most of the scenes have a comic structure, end with a punch line and are designed to make Maher-the-interviewer look sane and rational while his subject comes off as a complete fool.
  14. Because the subjects are all mellowing into grandparenthood and their abrasive, wilder days are behind them, this particular "scrapbook" isn't as heavy hitting and hard-edged as its predecessors.
  15. States straight off that the man's legacy has been tarnished in most of the liberal world's eyes by his being the spoiler of the 2000 presidential election. "It will be engraved on his tombstone," says his friend Phil Donahue.
  16. An absorbing slice of a lost world that's actually very reminiscent of Kurosawa's underappreciated 1957 film, "The Lower Depths."
  17. It would be easy to categorize the Lebanese women's picture Caramel as a Levantine combination of "Sex in the City" and "Beauty Shop," but it's actually a lot smarter, sharper and deeper than that.
  18. Winterbottom carves his own intimate tale out of the sprawling material, a modest miniature with witty flair and moments of humility.
  19. Though Signs & Wonders loses its bubbles and runs flat in its anticlimactic final moments, it's far more inventive and demanding than any movie of recent memory.
  20. Pape Sidy Niang is terrific as the cop, Z, who is viewing America through a new immigrant's eyes.
  21. Director Len Wiseman, confidently stepping up from the smallish budget "Underworld" films to mega-budget Hollywood mainstream.
  22. Has the power to transport us to a different place. The spark of special anime magic here is unmistakable and hard to resist.
  23. Effective piece of election-year propaganda.
  24. The film is so explicit (endless swinging parties and porno scenes, more bouncing breasts than a Russ Meyer movie) that it finally becomes the thing it fears.
  25. The most totally appealing and seemingly heartfelt performance of (DeVito's) career.
  26. Outside national borders, this naive vantage point is an entry into a country's history and culture, explaining without seeming patronizing.
  27. A frothy and deliriously enjoyable souffle.
  28. With the exception of some minor glitches in the sound synchronization and a nighttime performance of The Band's "The Weight" that is uncharacteristically grainy, the film looks and sounds great.
  29. The rude naturalism of the opening scenes between Wilson and Jacob recalls the spirited vulgarity of "Clerks," with dialogue that would be hopelessly offensive were it not so funny and true to life.
  30. Salles tends to explain rather than suggest, but he connects with the anguish and abandonment to give this ghost story an emotionally haunting core.
  31. It offers no special insights into its subject, it doesn't connect on any higher level, and it left me feeling vaguely dissatisfied and let down.
  32. The experience is fun enough that it's sure to be the summer's first blockbuster.
  33. A warm exception to coming-of-age stories that accent the tacky and vulgar aspects of adolescent awakening.
  34. It's so beautiful and moving and simple that I'm willing to forgive Majidi his contrivances.
  35. Gorgeous re-creation of another time.
  36. It's more than simply a well-crafted piece of fake history.
    • 75 Metascore
    • 75 Critic Score
    If the chorus was the sole focus of the documentary, it would have been brilliant. Unfortunately, director Stephen Walker makes the movie as much about himself as it is about the singers.
  37. Her (Ardant's) diva-in-decline is funny, lightly campy and dead-on in the way it encapsulates the sadness at the end of a selfish life lived only for art.
  38. 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.
  39. 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."
  40. Cusack, who is beginning to look disturbingly like Dustin Hoffman, is not only the film's center, but its orbit as well.
  41. An enigmatic but gorgeous film.
  42. It's less a deconstruction of the heist film than an ambitious contemplation of our fascination with the genre, directed with a dispassionate eye at a ruminative pace and centered by a queasily emotionless figure wading through a swamp of moral ambiguity.
  43. Isn't exactly adult animation but it's more complex and ambiguous than the usual Hollywood live-action blockbuster, and just as splashy.
  44. It's all about waste and destruction, and not just the toxic waste -- illegally dumped in landfills -- that is poisoning the farmland and the aquifers in the region.
  45. "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.
  46. What emerges is a funny and sometimes aching movie that treads familiar dysfunctional family turf but still manages to eke out an emotionally toned balance.
  47. Journeys into a new heart of darkness, the destination of which lies outside the frontiers of humanity.
  48. The movie is a relentlessly enjoyable star vehicle and a hard-charging action-o-rama full of the usual Bondian elements, for the most part well done. It's one of the year's better action films.
  49. Although this is director Mark Obenhaus' first ski movie, it is every bit as exciting as the popular Warren Miller pictures, and boasts an unobstrusive soundtrack in place of the heavy metal racket that fuels most sports documentaries.
  50. It's a chilling tale that leaves us with the fear that Latin America's exploding social problems may well be beyond solution.
  51. The movie works amazingly well as a historical epic.
  52. It's hard to imagine an upbeat movie about homelessness, but Dark Days is just that.
  53. In many ways, a magical little movie in its own right, and a thoroughly pleasant experience.
  54. (Fiennes's) Onegin is clueless to anything other than the sensual world, and is finally more repellent than sympathetic.
  55. With his Jack Nicholson mannerisms extinguished and his boyish features made up to look worn and aged, Slater also makes us believe and care about this guy. A movie this marginal isn't likely to get much notice, but it's one of the very best things he has done.
  56. What the film does extremely well is take us deep into the crime scene, and give faces to the victims so we can experience this epic, incomprehensible and somehow prototypically American act of violence on a more personal and intimate level.
  57. Stunningly beautiful film.
  58. So Close is the film "Charlie's Angels: Full Throttle" dreams of being: sleek, silly, completely ridiculous and irresistible.
  59. Less cartoonish and more generous than the original.
  60. There is a heart-warming familiarity to much of its 2 1/2-hour tale, but the surprises around its edges gives Zelary a refreshing perspective.
  61. What it lacks is an intensity, a passion at the center...It is, nonetheless, a lovely and often powerful film.
  62. Hardly sophisticated, but it's as inspired as teen sex comedies get.
    • 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.
  63. Erin Gruwell (Hilary Swank) is real, and for all the dramatic license that writer/director Richard LaGravenese takes in his film, her story -- and the stories of her students -- are moving.
  64. Director Emanuele Crialese captures a stifling, dead-end rural culture awash in nature's beauty but seething with pent-up sexual frustration.
  65. The big downside of the film is that it always feels slightly contrived.
  66. The earthy imagery is delicate while the drama is oddly elliptical, creating a lovely film of storybook images and parables. It's both obvious and elusive and, historical specifics aside, almost timeless.
  67. A cogent, optimistic and mostly entertaining slice of ghetto life.
  68. The film's take on media and personal responsibility recalls Brian De Palma's faux Iraq documentary, "Redacted," here dropped into a homefront turned guerrilla war zone.
  69. Based more on rumor and supposition than fact. It's a highly entertaining set of hypotheses.
  70. It's a rare film that's about social class in American life, and Bellingham writer-director Enid Zentelis explores its hidden structure and silent barriers in a novel, subtle way that makes its points without hitting us over the head with them.
  71. A thrilling and scary ride.
  72. A bit smarter than it seems at first glance, and ends up being a rather colorful and fascinating -- and often imaginatively Capraesque.
  73. The first hour of the movie struck me as being truly inspired, and I haven't laughed so hard all year.
  74. It's a little visually precious and obscure but still a marvelously wistful film of regret and retreat, in which even the magic wine of forgetfulness erases only the memories, not the pain.
  75. It's a pleasure to see mature portraits of adult characters who put their vulnerabilities on the line. I enjoyed my time in the company of these strangers.
  76. Surprisingly sweet and infectious.
  77. As the film loses its focus on the "Protocols" phenomenon -- it becomes too scattered to have the impact Levin is after.
  78. Chabrol's deliberate and drawn-out observations often work against the dramatic tension, but his gift is making the audience believe that emotion and obsession trump logic for these deluded characters.
  79. The Pangs are at their best playing in the style sandbox, creating shivery imagery and eerie moods while exploring nothing deeper than irony and unease, as their climax so effectively demonstrates.
  80. The movie goes down very easily.
  81. 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.
  82. Allen has avoided his usual stable of jokes and one-liners, and the result is a film that feels and looks fresh from the maestro of urban angst.
  83. Foxx is magnetic in the lead, and the subplot in which he bonds with his Saudi police liaison (Ashraf Barhom, giving the movie's best performance) is touching.
  84. It's an old-fashioned Soviet road movie, filled with kind souls of the otherwise desperate (and at times predatory) world.
  85. The film is not without its flaws, but it sports a terrific production design that integrates magically into the story -- as well as another top-notch performance by Anthony LaPaglia.
  86. What makes this film truly chilling is the fact first-time feature filmmaker Scott Elliott and his writers somehow make every step of this descent harrowingly believable.
  87. Cronenberg is one of the cinema's true originals, and a trip to his spooky world is always a harrowing, thought-provoking experience.
  88. The only downside is that Bier's vision of upper-middle-class America does not always seem authentic.
  89. There's something essential and emotional missing in this character-driven piece. It's more an admirably performed and observed study -- of a time, place and three very different people -- than it is the heartbreaking and engrossing story it could have been.
  90. A fresh, well-written comedy that doesn't lag, casts its actors against type and has a real love for its characters.
  91. An utterly nihilistic, harrowingly upsetting vision of hell on earth.
  92. The film is so full of ideas and so dense that its narrative splinters, moving tangentially, and ultimately is weighed down by its rant and rhetoric.
  93. It's remarkably bright, funny and sweet for a film that wades through so much sleaze, though it can't escape all of the weirdness it worms through.
  94. As good as it is in pieces, its protagonists are distancing, its story is tangled, its film-noir cynicism is oppressive and unglamorous, and it just doesn't leave us with the satisfying unity of the kind of great movie it wants to be.
  95. 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.
  96. Not since Spike Lee's "Bamboozled" has such an irreverent carnival of African American stereotypes been so irreverently sent up.
  97. A summer movie that knows it's a summer movie. You don't go to this film for the story, but for the scenery: Bikini-clad girls riding waves, surf photography as beautiful as it is breathtaking, sun, surf, sand, even a little PG-13 romance.

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