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 Marcel Proust's Time Regained
Lowest review score: 0 Fair Game
Score distribution:
2749 movie reviews
  1. A family-friendly remake funnier, fresher and more affecting than the flavorless original.
  2. The fact is no one has a better understanding of the corruption of ego and power, or is more qualified to encapsulate it in a defining moment of Hollywood Gothic.
  3. Has a flag-waving dumbness at its core.
  4. Elevated out of the music-documentary genre to become something of an intriguing mystery -- and one with no neat solution.
  5. The battery of startling shock cuts can get repetitive and the plot has a few potholes, but the palpable atmosphere of vulnerability keeps the drama knotted in tension and the audience rooted to the teens in peril.
  6. Hugh Grant is one of the true phenomena of new millennium moviemaking. In an era in which the broadest and most scatological comedy imaginable rules, he's built a career for himself as a sophisticated light comedian very much in the style of his hero, David Niven.
  7. Director Brown has made a career of chronicling the history of American folk music, and Pete Seeger: The Power of Song is a worthy companion piece to his 1982 debut, "The Weavers: Wasn't That a Time?"
    • 61 Metascore
    • 75 Critic Score
    The picture juggles three story threads. It's an excellent character study, a surprisingly effective father-daughter drama and a caper movie littered with surprises.
  8. The real humor comes, once again from Murphy, whose Donkey is so genuinely funny and clever that he very nearly steals the film. Except that it's stolen by Banderas as a rogue Puss In Boots.
    • Seattle Post-Intelligencer
    • 38 Metascore
    • 75 Critic Score
    The reason Balls of Fury works as well as it does, aside from its low aspirations, is because of the charm of Fogler in the lead. Like Jack Black, but not as sarcastic, he brings a winning enthusiasm to the role.
  9. Breathtaking visual accomplishment.
  10. 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.
  11. 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.
  12. The echoes of Douglas Sirk melodramas and Lassie movies just add to the fun.
  13. The commentary alternates between witty insight and opinionated bunk, but it's always fun -- and a must-see for movie buffs.
  14. 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.
  15. 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).
  16. Westfeldt's screenplay and Cary's direction combine to make it the best Manhattan love story since "When Harry Met Sally."
  17. At times a bit stilted, a common quality of first-time directors who try too hard to sculpt every scene, but it's refreshingly bereft of slick cynicism and smart-ass snideness.
  18. 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.
  19. Mullan is a great choice as Frank, playing the silent guy with all kinds of baggage perfectly.
  20. Brokedown Palace does have some plot implausibilities but Kaplan, manages to turn some hashed story lines into something substantial and emotionally affecting.
  21. 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.
    • 42 Metascore
    • 75 Critic Score
    Overall the movie is a mess, with a mixed-up mythology at its core. It may not be a new holiday classic, but at least it's funny.
  22. In Arcand's skilled hands, this sassy assembly comes together to be a comedy, a satire and a character study that's somehow not a bit condescending.
  23. It moves so fast you almost forget it leaves the characters in its wake.
  24. Isn't so emotionally powerful as the Oscar-winning "When We Were Kings" but which -- in its more intimate way -- still packs a punch.
  25. An old-fashioned Western with all the classic elements -- buddy loyalty, stalwart heroes, despicable villains, plenty of gunfights and marvelous wind-scoured desert landscapes -- marked by some modern ideas about relationships.
  26. It's an elegant nail-biter.
  27. The simple, unpretentious storytelling of Unleashed is a rarity in the glut of underwritten and overproduced action films that dominate American screens today.
  28. Life on the freeway is hell, but what comes next for these workers might be worse.
  29. Somber and violent but undeniably stylish and unsettling thriller.
  30. Mario Van Peebles, bearing an uncanny resemblance to his father, illuminates the soul of a man driven by a belief in himself and a love for his community.
  31. 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.
  32. It's a sumptuous mood piece.
  33. Ends up being empty, anti-climactic and overlong.
  34. This is an adrenaline-pumping, devilishly well-made thriller set against the downfall of an American family.
  35. It's a superior film in every way to its predecessor "Kiss the Girls."
  36. The movie constantly verges on being a parody, but Moore's performance stays miraculously away from caricature.
  37. As good as the film is in so many ways, it also altogether rings a bit false and contrived.
  38. For the most part, it's imaginatively staged and consistently entertaining.
  39. Zhang is a master of detail and spectacle. There is also plenty of comedy, particularly in the scenes with linguistically challenged translators.
  40. It makes for chuckling entertainment and it's fun to watch as it's happening. But its New York characters are not a bit believable, there's no real bite to the humor, and the film never adds up to be more than the sum of its parts.
  41. Although the start of the movie is a little fragmented, and the last quarter turns predictably rote, the middle is heartfelt, wonderfully diverse and empowering.
  42. Brooks has made a movie that is about separation from convenience and having to deal one-on-one with a stranger in a strange land. The result is a profound and moving movie.
  43. It's by far the most faithful of the three versions, and beyond this integrity it also offers an ensemble of graceful performances and an epic evocation of 1920s China -- though, like its predecessors, it's far from a perfect crystallization of the novel.
  44. Entertaining and eye-opening.
  45. The script keeps to the point, the performances sparkle with originality, the direction of Jean-Fran├žois Pouliot mostly has the right touch and the film ultimately generates some of the distinctively eccentric appeal of a classic Ealing Studio comedy of the 1950s.
  46. 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.
  47. An original, well-crafted plea that uses restraint instead of titillation to make a cautionary tale that aches with pathos and power.
  48. Loaded down with gritty Glasgow atmosphere and authenticity, and works so well as an ensemble piece
  49. The two young actors -- Hutcherson and Robb -- are terrific and unpretentious.
  50. The joy is in watching a talented cast make something crisp and fresh out of material that -- though perfectly adequate and enjoyable -- trespasses little into territory that's new or out of the traditionally plotted points of the genre.
  51. 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.
  52. The Groomsmen, while as corny as a Staten Island marriage proposal, rings true on many levels.
  53. John Sayles ventures into August Wilson territory with Honeydripper.
  54. One of the Coens' more playful projects, much lighter and significantly slighter than "No Country for Old Men" or "Fargo," but it's put together with such perfection that you can't help but be won over.
  55. Berlinger and Sinofsky, with their knack for penetrating the diabolical pretensions of weak and disaffected human beings, have brought Metallica to its knees.
    • 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.
  56. In its austere visual understatement rests a ton of emotional power.
  57. The film is imaginative but ugly, with bodily functions an unending source for grotesque and revolting imagery.
  58. It's all quite deftly played with a maturity and introspection that may take you by surprise, though Sachs is perhaps too restrained in parts.
  59. Works best of all as a vehicle for Richard Gere, who has simply never looked better or held the screen more securely.
  60. A movie you've seen many times before, but the setting is different, its characters are well drawn and it delivers its uplifting message with succinctness, sincerity and skill.
  61. Dizdar humorously compares and contrasts extremes in economics and lifestyles and looks at the west through the eyes of an outsider.
  62. The result is like a "Waiting for Godot" for the video-game generation.
  63. His persona clicks, the physical comedy amuses, and its comic vision is tantalizing enough to make us suspect the Old Master still may have at least one masterpiece in him trying to get out.
    • 50 Metascore
    • 75 Critic Score
    Isn't nearly as entertaining as it is predictable.
  64. 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.
  65. The stars ultimately carry the day, the film cumulatively builds both an emotional power and tender wisdom that's very affecting.
  66. The film is many things: dark fable, gritty thriller, satirical social commentary, horror film and a love story that's blessed with a marvelous, near slapstick physicality.
  67. Pacino has done more Shakespeare than any other currently bankable movie star, he has a feel for the language and he lends a genuine grandeur to Shylock's big speech of self-defense.
  68. A film with a real depth, resonance and texture, and room for an ensemble of supporting characters.
  69. Scores high on nastiness, but it has as many surprisingly funny moments as offensive ones.
  70. The film's only misstep is its again-used theme (especially when it comes to a woman's rite of passage) of exacting some punishing loss when our heroine pushes to transcend her limitations by seeking a better life.
  71. There's no question where filmmaker Jonathan Nossiter's sympathy lies, but he makes his case leisurely, without hysteria and with much playful screen time devoted to the various interviewees' pet dogs.
  72. Overcooked and simplistic in spots.
  73. T. M. Griffin's script is imaginative and clever.
  74. It is entertaining and eye-filling enough to appeal to a mainstream male audience. [22 May 1992]
    • Seattle Post-Intelligencer
  75. Minghella does a good job of dashing any lingering image you might have of the Civil War as a conflict fought along neat geometric battle lines with the nobility of Appomattox.
  76. While Shrek may trek into that dark territory and has some questionable values simmering beneath the surface, its characters are delightful enough and the film is just sweet-natured and visually sophiscated enough to avoid sinking into the swamp.
  77. The horror and spectacle of medieval battle has never been re-created on film before with such ghastly beauty.
  78. The filmmaker's vision is harrowingly ugly and profoundly upsetting every step of the way.
  79. Offers compelling footage, but its revisionism can be distracting.
  80. Actually, the film may be too grubby and sordid and ghoulish for its own box-office good. It's certainly going to send more than a few of the New Zealand director's sensitive women fans running from the auditorium.
  81. The film tugs at us. And we forgive it its faults because it never loses sight of what it's supposed to be even though the story has a manipulative edge and maneuvers our feelings.
  82. A cheerful and stylish romantic comedy that's easy on the eyes and ears, and makes few demands on the intellect.
  83. 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.
  84. It's more theatrical pageant than action movie, with the showy but rudimentary martial-arts action coming off like just another ritual with the players going through the motions.
  85. 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.
  86. There's no particular tragedy or triumph, merely another step in the lives of two fallible people finding a little comfort while stumbling toward happiness.
  87. Unlike the worthless torture porn that is destroying the genre, Stuck is a horror movie with a reason for being.
  88. Iliadis is more visually sophisticated than Craven was in 1972 and works hard to sustain the mood and tension while still hitting the audience with blunt scenes of wincing violence. (It gets grisly and grotesque enough for gore hounds.)
  89. Gorgeously evocative visually.
  90. It has its flaws, and traditionalists are likely to think it falls well short of its inspiration, but it works on its own terms, it fills the screen with Burtonesque excitement and it strikes me as one of this tepid movie summer's better offerings.
  91. Eight Legged Freaks is a B-movie-and-proud-of-it thrill ride, probably the best of its kind since "Tremors." It does just what a good creature feature is supposed to do: It entertains with laughs, gasps, gooey spectacle and a bemused sense of fun.
  92. It's a tricky tonal dance that Watt, minor missteps aside, glides through with feeling.
  93. Behind the narrative twists and contrived dramatic complications is a searing and scary look at dysfunction.
  94. 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.
  95. 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.

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