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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Secret Lives of Dentists
Lowest review score: 0 Get Rich or Die Tryin'
Score distribution:
2,749 movie reviews
  1. The artist's life and times were turbulent and tragic, but the effect of the movie is the opposite: it's somehow a very calming, almost Zenlike experience, and it left me with a peaceful glow that I managed to carry around for the rest of the day.
  2. A hard film to shake and makes us think and think again.
  3. I loved it...Without trying very hard, Farnsworth commands a unique and immensely appealing screen presence that could be called "a compilation of all the great western heroes of the movie past."
  4. Like Kubrick, Field doesn't make any moral judgments about his characters, and his film remains stubbornly enigmatic. It can be read as a high-class revenge thriller, an ode to the futility of vengeance or almost anything in between.
  5. Not only feels real, but it avoids preciousness and cute eccentricity and, in its lean, almost grave, cut-and-dried delivery makes more of an emotional impact because we're able to imprint our own memories of adolescence upon it.
    • Seattle Post-Intelligencer
  6. Douglas brings a hilarious kind of Gordon Gekko assurance to his character, and Brooks' long-suffering, naggy persona -- which hasn't had a showcase this strong since "Lost in America" -- sparks off it like Hope with Crosby.
  7. As dark as a Greek tragedy yet it has a vibrance and joie de vivre that can't be contained by grief.
  8. A mix of H.P. Lovecraft madness, David Cronenberg biological mutation and David Lynch small-town weirdness, it teasingly dangles explanations never delivered and escapes never sought, while diving into one of the most gonzo horrors to twist onto celluloid in years.
  9. Washington brings it off with an unforced and well-earned emotional wallop, and whose strong hand, keen eye, sweet spirit and good taste are reflected in almost every scene.
  10. All told, this first Bond of the new millennium may be far from the best of the series, but it's assured, wonderfully respectful of its past and thrilling enough to make it abundantly clear that this movie phenomenon has once again reinvented itself for a new generation, and is very likely to outlive us all.
  11. Singer deftly crafts a sleek, unusually tight film that balances comic-book adventure, pulp opera and the fear of being different.
  12. Think of this corrective to Kipling as "The Longest Yard" meets "The Seven Samurai" with cricket bats, choreographed dance numbers, romantic triangles and a rousing call to solidarity.
  13. If the new Ocean's Eleven is mostly Clooney's show, he's more than up to the task of carrying it. Indeed, this could be his career-defining role: The twinkle in his eye has never seemed more disreputable, his devil-may-care charm has never seemed so appealing, and he dominates the movie with the graceful ease of a Golden Age Hollywood star.
  14. Pfeiffer devours every one of her scenes with a ferocious performance.
  15. Nettelbeck has created a movie recipe that ladles great dollops of dessertlike joy and equally dark tragedy around her strong-willed heroine. It wouldn't work without actors capable of finding vulnerability, humanity and kindness in sometimes inaccessible characters.
  16. There's no denying the skill and flair with which director Paul Greengrass has restaged this unhappy event, creating an uncanny sense of immediacy and allowing us to be a fly on the wall at a seminal '70s tragedy.
  17. Another harrowingly cynical dirty-cop movie in the recent tradition of "Training Day" and "Narc." Yet it's so much more complex, engrossing and satisfying than those films that the comparison is not entirely fair.
  18. It captures the excitement of a breaking star, it generates a raw and unsettling emotional power and it honors the aesthetic of hip-hop in way that's never quite been done on film before.
    • 70 Metascore
    • 83 Critic Score
    Uses sports as metaphor for life with rare twist.
  19. Mesmerizing and curiously satisfying idyll that gradually, slyly maneuvers us into a whole new way of looking at the delicate relationship between man, art and Mother Nature.
  20. Avoid the hype, just go enjoy the movie
  21. Mostly very good. It's exactly the big fix of Saturday-matinee adventure, blazing special effects, inside humor and sly self-references for which its fans have been lusting.
  22. It demands people pay attention and look inward to find the private compass that will navigate us through murky sensibilities that are as capable of seducing us as they are Tom Ripley.
  23. Moves like a bullet and, even if they're overblown, the action sequences are still mostly exhilarating and hypnotic. Moreover, the film's human dimension and character development is richer and more rewarding than the genre requires, and its philosophical underpinning more intellectually audacious and seductive: The film is more of a mind-trip than I expected.
  24. It also boosts the punch of the movie that so many of its action scenes evoke the Iraqi War news footage of the past month, and the "X-Men" premise -- people persecuted because their difference makes them seem threatening -- carries even more relevancy and weight than it did three years ago.
  25. It marks an impressive debut for first-time writer-director Mark Romanek, especially considering his background is in music video. His script is uncluttered and potent, and his direction manipulates a devastating climax that ties the photo/voyeuristic theme together very effectively.
  26. Somehow the movie works like a clock. Its scenes and sensibility are all more than familiar, but it exudes a kind of nostalgic spy-movie charm and, at the same time, is so fresh and free of the usual thriller nonsense that it all seems to be happening for the first time.
  27. Ararat is less about history than the necessity of dialogue and debate, and the devastating effects of stifling dialogue.
  28. Like Spielberg, even if the content is questionable or the performance is missing, his scenes always manage to be visually thrilling.
  29. Despite the cat-and-mouse games between cop and criminal, this is less a battle of wills than one man's battle for his own soul. Nolan bravely treads where few American films dare to delve -- into the world of ambivalence and ambiguity -- and emerges with a compelling portrait.
  30. Darkly funny.
  31. It's an absorbing, progressively unsettling and ultimately very inspiring biographical reflection that, in the interest of creating its subject's internal landscape, plays some chilling tricks on its audience.
  32. Marks a surprising maturity, restraint and confidence to Carrey's acting. Even more than "The Truman Show," he plays it perfectly straight here, and his natural charisma carries the movie with just the right dose of Jimmy Stewart charm.
  33. A dazzling movie, gorgeous to look at, involving on both emotional and intellectual levels, and often thrilling.
  34. Simply enjoy its witty and expertly crafted scenes, its controlled performances, its eccentric but mostly admirable characters, its succession of bleak but cozily Nordic panoramas and its surprisingly optimistic view of the world.
  35. Both intellectually absorbing and emotionally gripping.
  36. Director Juan Carlos Fresnadillo creates the same world of devils and innocents that grounds so much of Spain's modern, seeped-in-Satanic-evil horror, recast in a secular cinematic vocabulary.
  37. Movie is so hip-swingingly infectious and leaves us with such a high that it's hard not to suspect that -- handled right -- it could well become the fall version of "My Big Fat Greek Wedding."
  38. Philip Messina's claustrophobic sets and Cliff Martinez's elegantly creepy score add to the film's distinction and work off Clooney's performance and Soderbergh's staging to create an hypnotic spell and suggest a cosmos full of spiritual possibility.
  39. Lin energizes the grungy palette with stylistic zing, a hopped-up pace and understated humor. His cast carves out vivid characters and the open-ended aftermath takes stock of the moral scarring without moralizing.
  40. The nuttiest big-screen video game you'll ever have the pleasure of seeing somebody else play.
  41. It may not keep you guessing to the end, but there are enough surprises and wry revelations, right down to the last play, to make this a most satisfying cinematic confidence game.
  42. This community finds its balance with an easy effortlessness.
  43. Noyce's movie is a testament to endurance -- the camera caresses the landscape -- instilling us with a respect and reverence for it, its harsh ways and the attachment to it that Australia's indigenous people hold.
  44. First-time feature film director Max Farberbock has given a terrific visual style, resonance, sense of hope and power to the material.
  45. Bruckner's restrained performance reveals a girl drowning in her own lack of self-esteem. When she finally comes up for air, she shatters the surface with a force that, in the hands of a less thoughtful director, could send her spinning down the melodramatic road to ruin.
  46. A funny, sad, scary and ultimately tragic coming-of-age drama/black comedy that skillfully -- and uncompromisingly -- creates its own world and uniquely pessimistic vision.
  47. Occasionally falters in its symbolism and storytelling, but still unnerves because we're never quite sure of our bearings, or whose "reality" we're watching.
  48. The film manages to make the ordinary extraordinary. It takes visual risks, tells its story subjectively through images and moves confidently to a stunning, imaginative climax.
  49. Carrera's direct, unadorned style has none of the searing imagery or cinematic imagination of "Y Tu Mama," but it bristles with passion, anger and a palpable sense of betrayal.
  50. Kidman's Virginia Woolf is already controversial -- Yet there's something fierce, noble and deeply affecting in her work that mirrors Woolf's prose style, and her turbulent presence is the soul of the movie.
  51. Cronenberg's most disciplined exploration yet of that shadowy realm: the world refracted through the prism of a schizophrenic mind.
  52. It's an appealing mix of an old Hollywood movie world of Upper East Side sophisticates with the character-driven spontaneity of a modern American indie, all very slight and light but deftly done.
  53. A mostly fascinating, often frustrating, boldly uncommercial Hollywood version of a boldly uncommercial art film. It's very atypical of the previous work of both director and star, and it's as personal a film, I suspect, as Cruise will ever make.
  54. Dazzles us with computer-generated animation that has never looked quite so boldly exotic or shimmeringly beautiful.
  55. The real find in this lovely family film is Castle-Hughes, who makes Pai's confusion, emotional fragility and devotion palpable.
  56. A love letter to the state of Montana and a landscape that is biblical in its desolation and splendor.
  57. It's more strangely and elementally touching than its predecessors.
  58. Completely -- and quite cleverly -- contrived, a cascade of stupid mistakes and miscommunication stirred into a visceral stew of gooey blisters and flaying layers of bloody flesh.
  59. Gradually and inexorably, the small crises of the children assume a poignant dramatic profluence, and the soothing patience of the teacher begins to have an almost hypnotically balming effect on the viewer.
  60. A punch in the stomach of a movie. It is as ugly as it is beautiful, as full of peaks as of lows. It's a character-driven movie about people on an emotional edge who are ridding themselves of the things that can no longer work without inflicting damage.
  61. The music, art direction and camerawork blend together with an integrity and scope that's wonderfully exhilarating. Every frame seems to communicate the grandeur, power and fatal pull of the sea.
  62. The film is an across-the-board charmer that should appeal to children as well as their parents, aficionados of animation and old-movie buffs who will be challenged to sort out the blur of seemingly hundreds of classic film references.
  63. Most of the magic of this unusual movie comes from the freshness, imagination and sweet spirit of its animation, which is blissfully its own thing and does not show the influence of any of the reigning forces in the art form.
  64. In his first role since turning 40, Cruise displays a likable new maturity, and an unexpected willingness to look weak and foolish.
  65. A gracefully subtle, sweet-spirited French parable of the brotherhood of man that was nominated for a Golden Globe, won Omar Sharif a César Award for best actor and has been a surprise hit in Europe.
  66. Its script is sharp, its dialogue is acerbic, its stars could hardly be better and, in its more sparkling moments, it exudes some of the flavor and charm of the later Hepburn-Tracy comedies.
  67. The French are very much the villains of the saga and, naturally, have always hated the movie (it was banned in Paris until 1971); and it remains controversial in other quarters as well because it seems to embrace, even celebrate, terrorism as a political tool.
  68. Looks simultaneously ahead of its time and delightfully quaint, a simple romantic comedy that revels in the dreamy artifice of a meticulously re-created fantasy Las Vegas.
  69. It's a gripping outdoor adventure and the movies' most inspiring epic survival story in years.
  70. Above all, I'm Not Scared pays off our emotional investment. In the end, its elements come together with the kind of genuinely thrilling, deeply satisfying climax that even the better Hollywood movies just can't seem to pull off anymore.
  71. It's the chemistry between Vardalos and Collette that gives the film its magical dazzle. Despite Vardalos' ingratiating, big and breathy presence, Collette, as the pulse and conscience of these two dreamers, very nearly steals the film.
  72. A rousing celebration of a genuine people's hero and a timely reminder that a free press is the greatest weapon in the arsenal of democracy and freedom.
  73. Control Room is even more effective in showing the dilemma of the people who make up Al-Jazeera. In a sense, these are "our" Arabs, in that they're Western-educated, conduct their business in English and seem to believe in the basic American principles.
  74. If you're sick of the gross-out gags and sex jokes of contemporary teen comedy, this defiant blast of idiosyncratic individuality just could be your tonic.
  75. This free-flowing film certainly hits the high points as it flips around its talking-head celebrity sound bites at warp speed.
  76. Flies so gallantly in the face of what's supposed to work at the movies these days that you just have to love it.
  77. Delivers the expected adrenaline-driven thrills with a fresh eye and a refreshing attitude.
  78. Cruise is a man whose youthful cockiness has aged into self-assurance and cool confidence. It's a masterstroke of casting. The dynamism of Collateral, however, comes from Jamie Foxx.
  79. It becomes a dreamy study in stillness broken by suicide fantasies, flashbacks, and the hired killers, but even the violence has a meditative even melancholy quality to it, as if it's all been processed through the eyes of its Zen hero.
  80. An honorable and often enticing piece of personal filmmaking.
  81. Cedric Kahn has caught the irrational compulsion, nail-biting tension and unpredictability of plot that is Simenon at his best.
  82. The impressive marriage of CGI backgrounds and traditional hand-drawn characters gives Oshii more tools to sculpt his vision in color and light.
  83. In its final scenes, when truth and superstition collide, the film becomes more preposterous than anything Penn may have contrived earlier.
  84. It's bloody brilliant.
  85. Captures the lovely, heart-and-eye-opening ode to youthful possibility with affection and compassion.
  86. It's a partisan campaign film, of course, but a subtle one.
  87. What it lacks in melodramatic punch it makes up for in unexpected shadings in the characters, predator and victim alike.
  88. The supporting performers all shine, especially Irons in the thankless role of the clueless cuckold husband.
  89. Wise, entertaining and often very funny.
  90. Bale is totally convincing, if not especially endearing.
  91. Saw
    The filmmakers piece it together with almost clockwork perfection and deliver it with masterful misdirection, creating the most ingenious, eccentric and brazenly jaundiced psycho-thriller to come along in years.
  92. It's boldly acted, absorbing and satisfying as a history lesson and chock-full of extravagantly brutal battle sequences.
  93. Doyle's handheld camerawork is intimate and curious and his hazy colors radiate off the screen.
  94. It makes for one of the best and most haunting of the recent Asian horror films.
  95. The film is a melancholy but poetic meditation on the fragility of the gift of life.
  96. A smart, savvy and satisfying Hollywood comedy.
  97. It's both innocent and bizarre, with a mischievous sense of fantasy marked by simple but striking cinematic magic.
  98. It lets down in the last act and is probably too mired in serial-murderer-movie formulaics to garner Oscar attention. But it's his tightest, best film since "Unforgiven."
  99. The film below it is such an entertaining and poignantly bittersweet take-down of a good man's midlife crisis that the translation still works like a charm.

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