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 2.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Dracula
Lowest review score: 0 Domino
Score distribution:
2749 movie reviews
  1. Though it's ostensibly a thriller, Trade constantly works against the conventions of its genre in a rather audacious way -- finding, for instance, surprising moments of humanity in even the most monstrous of its villains.
  2. Presents itself as a sassy twist on "Taming of a Shrew," but what looks like just another contrived sex comedy becomes, surprisingly, an insightful and sensitive look at knots that family ties create in adult romance.
  3. Clever, often hilarious, inside-Hollywood farce that makes the most of... a delightfully absurd premise.
  4. The film's grueling training sequences have a perverse fascination, and, though he's nothing special here, Kutcher is probably the most appealing he has been in a big-screen role.
  5. As amateurish and fumbling as it is in every department, the sum total of the movie is pretty darn scary.
  6. There are some flat moments, to be sure, and Palansky's direction can be a bit unsteady and awkward, but he doesn't wallow in the eccentricities or the modestly self-empowering moral. This fairy tale feels pleasantly down-to-earth.
  7. Despite the cultural and artistic differences among the contributors, the overall production design maintains a unified tone, helped in part by Laurent Perez's eerie soundtrack.
  8. A hilariously spry effort from an equally unpromising premise.
  9. Has the modesty of a savvy, smart drive-in movie with Hollywood studio polish and a movie buff's loving care.
  10. Very slick, very compelling and not nearly as predictable as it sounds.
  11. The film is weirdly fascinating in its own maverick way.
  12. The performances are immaculate, especially Dafoe and the always-magnificent Mirren, who rarely gets a vehicle this worthy of her talent.
  13. It's a consistently funny script, tastefully packaged by super-producer Brian Grazer and directed with just the right touch by Dean Parisot.
  14. A tough, taut, mostly well-executed morality parable and thriller that explores some of the bitter ironies of this strange religious vendetta in which America unwittingly finds itself.
    • 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.
  15. Filmmaker Pray, who is building an impressive body of documentaries on American subcultures, including the Seattle grunge scene in "Hype," graffiti artists in "Infamy" and truckers in "Big Rig," does an admirable job of allowing his subjects to represent themselves.
  16. It's resolutely grim and rather predictable but very compelling, and it offers a commanding star vehicle for Denzel Washington.
  17. Non-cultists should enjoy this engaging and well-acted retread -- a film that develops its own charm as it goes along.
  18. Movies about gurus generally fail to capture the charisma of their subjects. French director Jan Kounen's documentary on Amma, India's hugging saint, who allegedly has given restorative embraces to more than 45 million supplicants, is no exception.
  19. It's an expensive star vehicle that also happens to be a teary, unabashedly sappy, romantic comedy with every element as purely calculated to appeal to a heterosexual woman's romantic fantasies as an episode of "All My Children."
  20. Were it not for its pat resolutions, Mister Foe might deserve a mention alongside such classic psycho-sexual thrillers as "Vertigo" and "Peeping Tom." Instead, Mackenzie has reined in the strangeness to deliver a conventional, if better than average, mystery.
  21. Like most films in this overworked genre, it's as formulaic in its own way as a John Wayne western, and the characters and situations all have a gnawing predictability about them.
  22. The film doesn't shy away from the political side of hip-hop.
  23. It's mostly quite enjoyable. Director Joe Johnson's many action sequences are lively and engaging, the location photography (mostly Morocco) is breathtaking, and both the horse and Sharif (in his biggest Hollywood role in years) are adorable.
  24. A genre-twisting surprise.
  25. The stories of the other competitors are just as fascinating, particularly that of Bernard Moitessier who, after nearly a year at sea, could not bear to return to England, and turned sail for Tahiti.
  26. Another gutsy, big-budget movie that dares to say something new and optimistic about our messed-up times. And it almost, but not quite, brings it off.
  27. 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.
  28. A spirited, screwball crime-thriller with a sly heart.
  29. There is such a joy of play in the film that it's easy to overlook the overdone performances and the lazy script shortcuts.
  30. If ever a film seemed poised to take over the spot occupied by the surprise indie hit, "My Big Fat Greek Wedding," it's Real Women Have Curves.
  31. When a director has two actors as iconic and skillful as Robert Duvall and Michael Caine for his leads, all he has to do is point the camera in their direction and it's hard to go wrong.
  32. Casts a dreamy romantic spell that lingers pleasantly in the mind for a long time after experiencing it.
  33. DiCaprio could hardly be better. He brings this outrageous character and his demons to life with skill, sympathy and a symphony of small, telling touches.
  34. There's a satisfying craftsmanship to every sequence, the direction is stylish without being show-offy, the plot mechanics are convincing, the pace is breakneck and compelling, and the film does something unique and interesting with its Hitchcockian concept.
  35. It fulfills a lot of the criteria for a successful oater: spectacular scenery, an evocative frontier atmosphere, an ensemble of enjoyably tight-lipped performances, and plenty of stylish violence.
  36. Eloquent and informative.
  37. It's really Harris' movie, and he brings to it just the right blend of engaging affability, gruff strength of character and transcendent nobility of spirit to make it a genuinely enriching experience.
    • 69 Metascore
    • 75 Critic Score
    A funny, freaky, fiendishly good flick that might just find a following beyond the standard cadre of horror fanatics.
  38. 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.
  39. 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.
  40. In a summer of comic book super-operas dense with psychological torment and sprawling well over two hours, the unpretentious efficiency of Terminator 3: Rise of the Machines is refreshing.
  41. It's Waters' way of saying: It's only a movie.
  42. "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.
  43. Re-creates the era convincingly, and, as usual, Penn is mesmerizing: a consummate movie actor at the peak of his game.
  44. The film dwells more on the sensationalistic aspects than the sport itself but it's impossible to deny the tawdry entertainment value in this compelling film tabloid.
  45. A furiously choreographed martial-arts spectacle wrapped in a fumbling narrative.
  46. There are hints of madness in all the characters, and it gets creepier and more surreal as it goes along until it finally comes to a showstopping climax that took me completely by surprise and made the hairs on the back of my neck stand up straight.
  47. A solid piece of storytelling that doesn't pander, skips the usual POW stereotypes and allows the film to work reasonably well as an epic of war, a survival story, a prison thriller, a murder mystery and a courtroom drama.
  48. A highly entertaining film that still packs much of the punch and the quirkiness of Willeford's novel.
  49. Fascinating and mostly sympathetic.
  50. Plays in spots something like a stage play smartly brought to screen.
  51. The cast, collectively a successful example of the lovable-loser protagonist, shows deft comic timing, particularly Chandrasekhar, who wrings laughs just by his reaction to the locals' racist remarks.
  52. Captures the infantile fantasies of rock 'n' roll's self-made messiahs with an honesty that is rare in today's MTV world of promotional entertainment.
  53. For all the misery and emotional mess of Snow Angels, Green finds resilience and hope in the kids and even in some of the grown-ups.
    • 55 Metascore
    • 75 Critic Score
    The film still shines.
  54. 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.
  55. Ali
    Could there possibly be a worse time for a movie celebrating a draft-evader who embraces Islam? You wouldn't think so.
  56. There is a ton of psychology and inference in this intriguing first feature by French director Anne-Sophie Birot.
  57. The directors have told the press that one of their goals was "to make horseracing -- a great sport that has gotten progressively less attention over the past 30 years -- cool again." The movie actually does this. It sure inspired me to make plans for Emerald Downs.
  58. Yu has a good time making fun of white people, in particular a pair of rival ping-pong teachers who seem inspired by the gay villains in the Bond film "Diamonds Are Forever."
  59. 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.
  60. A perfectly titled and thoroughly engaging -- if at times gleefully violent -- black comedy.
  61. Exquisite and fragile in visuals and tone, yet has some difficulty with a choppy narrative.
  62. Unusual even for Japanese animation.
  63. He (Chan) still can turn a silly little action comedy like this into a high-spirited, butt-kicking good time.
  64. The style is dated, and its neorealism seems forced and ineffective, but it's still delectable, and mostly for the things Pontecorvo hated about it: its delirious '50s color, and its stars, particularly Montand at the peak of virility.
  65. Director Neil Burger manages to make his technical deficiencies and clumsy interviews work for the credibility of his story rather than against it, and he builds an eerie, naturalistic suspense that's believable enough to raise an authentic goose bump or two.
  66. Watching a Bruckheimer with natural comics like Smith and Lawrence makes it all go down easily. If you like this type of movie, that is.
  67. It works as a fascinating and often very funny character study/satire of a famous author, though it loses interest the harder it tries to be profound and falls apart completely toward the end.
  68. Despite some iffy moments, Lighting is the closest one to get to the music from which, as Hubert Sumlin notes, "there is no retiring. You stay with it until the end."
  69. The result is a painful and poignant film at once empathetic and critical, more soberly unnerving than exciting, but never less than compelling.
  70. 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.
  71. Oliviera's mastery is a joy to experience and his bittersweet comic touch adds a loving absurdity to what could have turned maudlin or morose.
    • 38 Metascore
    • 75 Critic Score
    If cheesy, feel-good riches-to-reason romantic comedies are yours, this is your fix. It's a harmless indulgence that, like shopping, may make you feel good for the short term, but later you'll need more.
  72. The rough, exposed emotional candor of Cheung's singing voice carries into her performance.
  73. Difficult to weigh and rate precisely because it deals with real life and real people.
  74. My Brother Is an Only Child isn't a critique of the left but a film about the consequences and responsibility of "political action." Luchetti measures social justice not in ideals but in positive change and the compassion with which it is accomplished.
  75. Linklater powers the film with the energy and attitude and beat of his soundtrack.
  76. Wry and dry.
  77. Well-paced, well-structured nail-biter with precious little of the usual Hollywood nonsense, several virtuoso sequences, and a camera flourish that only occasionally gets silly.
  78. A gripping, unusual and suitably harrowing -- if, in the final analysis, not particularly satisfying -- concentration camp drama.
  79. The skewering of spiritualism, dogma and passive-aggressive prayer groups has an exaggerated absurdity that borders on cartoonish and Dannelly's satire is more clever than cutting.
  80. Does a solid job of dealing with the problem but with enough originality that it's not an exact duplication of the Gore film.
  81. A winning combination. By some bizarre quirk of star chemistry, their persona complement each other, the action scenes have comic flair and the movie is mindless fun.
  82. An inspired melding of action thriller, satire and biographical drama through the looking glass of a funhouse mirror.
  83. Never quite builds the compulsive emotional power it needs to be an unforgettable personal drama.
  84. Works well as a metaphor for a more innocent time.
  85. 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.
  86. The result is joyous and exhilarating.
  87. It's getting hard not to think of De Niro as anything but a dead-pan comedian.
  88. Stanley Nelson's documentary shows how a religion becomes a cult, and how people are deceived by an ideal.
  89. 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.
    • 56 Metascore
    • 75 Critic Score
    And despite Kellyanne, at times, coming off as more annoying than sympathetic, the film succeeds because of the great lengths to which Ashmol goes to bring her peace of mind.
  90. It's the kind of stunt that gets Oscar nominations and accolades. Theron turns it into a raw, bristling performance that deserves them.
  91. All told, it's a reasonably effective movie, but it might have been a lot more effective had it the guts to portray a Saddam Hussein or Osama bin Laden-like character as its villain instead of this rather unbelievable, but more politically correct, gaggle of cardboard neo-Nazis.
  92. The film is annoyingly sketchy on Thompson's early years and education, and it spends so much time on his coverage of the 1972 presidential election and his own race for sheriff of Aspen, Colo., that major aspects of his career get short shrift or go unmentioned.
    • 49 Metascore
    • 75 Critic Score
    Ultimately though, this remake doesn't stand up to the original. And it's precisely because this new Alfie is more likeable and thus less challenging.
  93. Where the Wayanses flogged every last chuckle from their belabored ideas, Zucker spring-loads his gags and lets them fly in rapid-fire succession. Not everything hits the target, but he tosses so many of them off with a wink and a grin that they catch you by surprise.
  94. Much of the film is oddly ambiguous, as if Tran used it to explore conflicts of tradition and modernity and never came up with any answers.

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