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 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Class
Lowest review score: 0 Fair Game
Score distribution:
2749 movie reviews
    • 82 Metascore
    • 83 Critic Score
    It is historically evocative, visually transporting and an exuberant romantic comedy that adheres to its source while spinning its own artful energy.
  1. Dazzles us with computer-generated animation that has never looked quite so boldly exotic or shimmeringly beautiful.
  2. Throughout, it's clouded -- for me at least -- by a nagging sense that it's straining too hard to build the media clash into more of an historic event than it was.
  3. Che
    It's all about Guevara's education as a revolutionary and his development as a leader in the jungles and in battle.
  4. Scott owns the film from scene one.
    • 83 Metascore
    • 83 Critic Score
    Sometimes jaunty, often dark, and very stylized. In other words, it's a perfect fit for director Tim Burton.
  5. The poetic justice strains the verisimilitude of a film otherwise grounded in a tough reality, but there is a guilty satisfaction to it all.
  6. Comes together with a wry sense of humor, a total lack of gratuitous movie nonsense and a graceful dignity that allows the humanity of his characters to shine through in a very special way.
  7. 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.
    • 71 Metascore
    • 83 Critic Score
    This is a spare and plainly told story, and it is that plainness that gives it so much punch.
  8. Delivers the expected adrenaline-driven thrills with a fresh eye and a refreshing attitude.
  9. Has the sensibility of a Hollywood "woman's picture" of the '40s -- the weepie saga of a married woman trapped in an untenable situation.
  10. Cronenberg's most disciplined exploration yet of that shadowy realm: the world refracted through the prism of a schizophrenic mind.
  11. An endearing comedy that could well end up being one of the year's big hits.
  12. The camera drinks in the angles, curves and textures, and the way it all shapes the light as if it's yet another of Gehry's non-traditional materials, and Pollack creates his own video sketchbook of Gehry impressions.
  13. It works because it never tries to be more than the very personal memory piece it is.
  14. Zwick's narrative skills keep us hooked on the story, and the first-rate production values and imaginative use of locations (it was shot in Mozambique) give the film an enthralling scope and epic sweep.
  15. This great Elizabethean masterpiece comes alive in a rich cinematic version that proves the past 400 years have done nothing to dim its uncanny power to mirror the human condition. [18 jan 1991]
    • Seattle Post-Intelligencer
  16. In the face of intolerance, Two Family House lovingly celebrates the triumph of love and acceptance over prejudice.
  17. 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.
  18. Not quite up to the exalted level of the two predecessors ("Toy Story" and "Toy Story 2"), be assured it's still the most eye-popping and thoroughly entertaining animated film to come down the pike so far this year.
  19. It's a partisan campaign film, of course, but a subtle one.
  20. It's bloody brilliant.
  21. Blanchett is, warts-and-all, letter perfect.
  22. Many will find the subject matter disturbing, but it's clearly one of the holiday season's richest and most daring movie entries.
  23. Margaret Brown's honest and non-judgmental film captures the artist's high and low points, from early appearances on regional television shows such as "Nashville Now" to the drunken and disorderly performances that defined his later years.
  24. You don't have to be a teenager to appreciate the raunchy humor and the uninhibited overkill of Seth's porn-obsessed chatter, though it probably helps to be a guy.
    • 69 Metascore
    • 83 Critic Score
    Jacque's satiric comic take on swashbucklers extends to war in general and particularly to the men who lead their armies.
  25. And who would have guessed that, in this age of excess and one-upmanship, when bigger is always better, the year's most romantic screen kiss would last a mere two seconds.
  26. There are two reasons Ramsay succeeds with a story that might at best be called morbid: She visually transforms the dreary expanse of dead-end distaste the characters inhabit into a poem of art, music and metaphor -- and she has the perfect actress to embody Morvern.
  27. Forster carries the movie with an effortless grace and professionalism, creating a character of surprising nobility who is the very opposite of the Willy Loman caricature that's been the de rigueur salesman stereotype in movies of the past 50 years.
  28. 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.
  29. 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.
  30. Pleasantly modest, endearingly etched and briskly set to a pounding beat.
  31. A playfully offbeat, willfully wide-eyed tale of lonely, inarticulate people looking for connection in a disconnected world.
  32. Ireland says he was after the kind of "elegant simplicity" of the great Hollywood romantic dramas of the '50s, and, for the most part, this is exactly what he pulls off.
    • 69 Metascore
    • 83 Critic Score
    Hughes' push for Greene to succeed confronts the nettlesome issues of racial identity that most films vigorously avoid. The worthiness of Talk to Me will be proved if it gets us talking to each other.
  33. She's foul-mouthed, trashy, a legal pit bull ... and she's wonderful.
  34. An alternately angry and sad portrait, passionate in its presentation and moving in its portrayal of individuals who sacrifice their love for the tenets of their religion.
  35. 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.
  36. What it lacks in melodramatic punch it makes up for in unexpected shadings in the characters, predator and victim alike.
  37. It makes an unsettling case that America is fast becoming the thing it professes to hate.
  38. 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.
  39. 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.
  40. Ararat is less about history than the necessity of dialogue and debate, and the devastating effects of stifling dialogue.
  41. Goes down like a cool glass of lemonade on a hot day.
  42. An extraordinarily taunt and suspenseful psychological thriller.
  43. Mamet is more respectful than exciting as an action director, but his fascination with how things work, be it the mechanics of designing and promoting a big pay-per-view event or battling a world-class Jiu-jitsu master, makes it all quite mesmerizing.
  44. As a goofy little fantasy, however, this film has loads of charm.
  45. It has a tendency to overextend its outrageous arias, but this pop-art confection both spoofs and celebrates the crazy conventions of movie melodramas and genre cinema with pure affection.
  46. Jia's compassion for the drifting souls struggling to create a life for themselves in such a transitory existence makes the metaphor resonant.
  47. The funniest film you'll see this year about a political assassination.
  48. Bale is totally convincing, if not especially endearing.
  49. Flat-out one of the more exciting and original gut-busters that Hollywood has produced in many a month. It's virtually all action, but the action is never mindless and it is full of marvelous surprises every step of the way.
  50. At 160 minutes, it's a bit long and uneventful for anyone who is not at least a moderate fan of the musicals.
  51. Ullmann has honed a too-long and sometimes relentless film that delves into the selfishness of passion but also captures the elusiveness and unpredictability of love.
  52. With less lampooning and satirical asides, Sicko may be less "entertaining" than Moore's previous films, but it's also more affecting and effective.
    • 75 Metascore
    • 83 Critic Score
    The film's wealth in themes provokes unsettling thought, even as it feels meager in thesis.
  53. Far-fetched but deliciously exciting aerial nail-biter.
  54. 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.
  55. The nuttiest big-screen video game you'll ever have the pleasure of seeing somebody else play.
  56. The surprise is that it's one of the most exciting and enjoyable disaster epics to come out of Hollywood in some time.
  57. The movie works best as spectacle: as a piece of old-style, non-CGI, on-location epic filmmaking.
  58. Arnold Schwarzenegger's enjoyable but not hugely special Kindergarten Cop - has a whole roomful of the little tykes making genital jokes and constantly having to go to the bathroom. [21 Dec 1990, p.7]
    • Seattle Post-Intelligencer
    • 71 Metascore
    • 83 Critic Score
    It's a loving and attentive take on a charming classic.
  59. Based on a best-selling book by Fortune magazine writers Bethany McLean and Peter Elkind, the film approaches Enron through the Horatio Alger saga of its founder, Kenneth Lay, the son of a dirt-poor Missouri Baptist minister.
  60. The dark, rotting interiors and sunless winter skies create a festering atmosphere of unexpiated guilt as Kremer ponders the question of how a decent man is to navigate the rivers of hell.
  61. Elegant and enjoyably disorienting.
    • 54 Metascore
    • 83 Critic Score
    Get Smart is action movie and spoof and, though it's often a little unbalanced, the ultimate result is a harmlessly entertaining picture.
  62. 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.
  63. Darkly funny.
  64. The casting clicks; the visuals have leaped right out of Dave Gibbons' original panels; the action is brutal, stylish and well-staged, and -- with most of the major characters, themes and symbolism are retained in an abbreviated form -- the 2 1/2-hour film makes an enjoyably esoteric Cliff's Notes version of the book.
  65. The performances by Davidtz, Weston, Wilson and especially Adams stand out as Morrison paints his character study with raw, true bits continually tested by the absurdities of pain life dishes up.
  66. Secretary is one of the best of a growing strain of daring films -- "Bliss," "The Lifestyle," "Satin Rouge" -- that argue that any sexual relationship that doesn't hurt anyone and works for its participants is a relationship that is worthy of our respect.
  67. An odd charmer with a whisper of autobiography (Blitz makes his film's protagonist a stutterer, just as the director was in school) and it's made even better by young lead actor Reece Thompson.
  68. Works mostly off Quaid's performance.
  69. While the characters lack the quirks and affectations that have enlivened the impulsive figures from past Dogme films, the passion of the players and Bier's sensitive direction give these utterly normal figures a vivid aliveness, along with dignity and everyday beauty.
  70. The film is a melancholy but poetic meditation on the fragility of the gift of life.
  71. Fascinating.
  72. 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.
  73. It's a quiet anti-war film full of lovely, heartbreakingly assured performances and real situations and responses.
  74. Venus is the second film from director Roger Michell and writer Hanif Kureishi to explore the sexual lives of folk that the movies treat as sexless -- the elderly. But where "The Mother" was a cold film of sexual greed and emotional pettiness, this robust yet delicate comic drama finds a kind of dignity in the old lothario whose vital life force struggles against a failing body.
  75. Anyone who claims to support the troops owes it to them to see the film and hear their stories.
  76. 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.
    • 52 Metascore
    • 83 Critic Score
    Director Zack Snyder uses his computers to create ferocious and painterly images, with as much attention to each frame as a hand-drawn panel.
  77. A love letter to the state of Montana and a landscape that is biblical in its desolation and splendor.
  78. 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.
  79. 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.
  80. A highly original, often hilarious, what-if farce about Watergate.
  81. 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.
  82. It's a brilliant little microcosm of the '60s experience that, in a most gentle way, shows us how the counterculture probably was doomed from its inception.
  83. Captures the pain and desperation of adolescent powerlessness and humiliation with powerful intimacy, strung out to almost 2 1/2 lazy hours of stories that wander through an ever-widening group of characters.
  84. The restraint of both director and actor makes this steely gangster drama reverberate long after it ends. This kind of mystery is rare in a film culture that demands answers before the credits roll.
  85. 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.
  86. It's LaPaglia's finest, deepest role and he's matched by Armstrong, who makes Sonja's undaunting optimism palpable within a trying marriage that's gulping for breath.
  87. Indeed, it has to be one of the most eerie, morbidly absorbing and psychologically compelling movies ever made about a writer in the agonizing process of creating an important piece of literature.
  88. This is the most impressive directing debut by a "name" British actor in a long, long time.
    • 73 Metascore
    • 83 Critic Score
    In Creadon's most effective and inspired sequence, he gets Reagle to create a puzzle using the film's title as its theme. It's during the sequence that we learn the lofty rules of creating crosswords, including lateral symmetry and a maximum ratio of black to white space.
  89. If you can forgive some plot artifice and gloss, there's a seductively intuitive and resonant theme resting at the core of Jeremy Podeswa's haunting new film.
  90. Despite a few places where the air of déjà vu is a bit too thick, it's a class act, with a textured script, one of the series' more stunning title sequences.

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