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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 In Her Shoes
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
2749 movie reviews
  1. Its elements all come together with an unforced perfection, every scene feels real and alive in a way that many of his more surrealistic later films do not, and Leonard Maltin, for one, has argued that I Vitelloni is no less than Fellini's masterpiece.
    • 61 Metascore
    • 91 Critic Score
    A delightful, inspiring and ultimately redemptive comedy-drama.
  2. It's not the most viscerally exhilarating racing saga or squishy animal movie ever made, but it's a terrific period piece. It's also a well-acted, engrossing and satisfying character drama that stands out like a diamond in this summer of sequels and comic-book violence.
  3. Gorgeous in its gore and, for all its destruction, despair and death, concludes on an optimistic and vibrantly alive note.
  4. Faced with an artist defined more by his lyrics than his life story, Haynes delivers a song-cycle of a movie: vivid, exaggerated, contradictory impressions of a man who confounds a culture still looking to define him.
  5. The actors are all well-cast, thoughtful and sometimes funny. Tabu was apparently not Nair's first choice, but after watching her in the role it's hard to imagine anyone else -- she's heartbreakingly good.
  6. It's pure fluff, but as irresistible as cotton candy.
  7. A proud and optimistic testament to the youthful spirit of seniors who refuse to let such a trifle as their failed lives get in the way of a bit of fun.
  8. Fascinating, visually gorgeous cinematic study that will frustrate some viewers by its ambiguity.
  9. The formula has rarely been done as well as it is in this goofy, audacious, visually stylized omnibus of what-ifs that operates on its own peculiar logic, and powers along with the force of a truck on the Autobahn.
  10. Rivets our interest for its entire lengthy running time. And it does this without any of the usual war movie clichés, false heroics, barracks-humor nonsense or grandstanding absurdities.
    • 81 Metascore
    • 91 Critic Score
    Despite the jumble, Kon's eye-popping, surreal mastery of the Japanese dream is awakening.
  11. Very much a '70s-style paranoid thriller, with a mood, tone and cascade of plot twists that are highly reminiscent of his 1975 classic, "Three Days of the Condor."
  12. The results are being billed as a reunion of the "Titanic" star team, but anyone expecting a similarly gushy romantic idyll is in for a shock: it is an uncompromisingly dreary view of two self-deluded people incapable and unwilling to understand one another.
  13. The sum of the movie is devastating. One takes out of it a sense that the human cost of our endless adventure in Iraq is going to be incalculable, perhaps catastrophic -- a psychological time bomb that will be exploding for decades to come.
  14. The sharpest journalism thriller I've seen in years: an absolutely riveting drama that doesn't glorify its subject in the slightest and shrewdly says a lot of very sad things about the state of modern journalism.
  15. That rare thing at the movies these days: a new experience. It awes us with its technological feat, it sweeps us up in its mystical spell and, with its final scene -- it takes us to an emotional climax of almost unbearable poignancy.
  16. Not only is it an enormously entertaining study of a curiously American institution, it also manages to be a nail-biting competition film, an engrossing group character study and a wonderfully graceful comedy of manners.
  17. I can't think of another movie that more fluently communicates the special agony and ecstasy of the game of chess.
  18. For all its unevenness, Bobby is a powerful, poignant movie and its ending -- played over a long excerpt of one of RFK's most compassionate speeches, voiced with none of the cliches of political rhetoric -- was, for me, the movie year's single most devastating sequence.
  19. Though it's unflinching in its depiction of homosexual affection, the marvel of the movie is the dexterity with which it transcends the specificity of its characters and gay theme to be a universal human statement and profound political epic.
  20. For all its moodiness, despair and disconnect, I've Loved You So Long is all about acknowledging human error and embracing ties -- to family and life -- that can't be undone.
  21. Movie magic is only as powerful as the imagination that casts it. Japanese master Hayao Miyazaki's imagination is the most creative in animated filmmaking.
  22. The two women -- as well as the always marvelous Bill Nighy as Blanchett's "older" husband -- run roughshod over its third act flaws and, with their exquisitely detailed performances, make it better than it is. It's an actor's triumph.
  23. In a disarmingly entertaining fashion, this multiaward-winning German bittersweet comedy seems to encapsulate all the emotion and drama of that profound geopolitical event.
  24. For all its excesses, it's an absorbing, disturbing, savagely beautiful "trip" movie, and an extraordinary -- perhaps even outrageous -- personal vision of the one A-list filmmaker who truly deserves the adjective "maverick."
  25. Jacob's Ladder is also undeniably spooky. It creates and maintains a mood of paranoia, its special visual effects are original and nightmarish, and it has at least three sequences as haunting as anything I've seen in some time. [2 Nov 1990, p.9]
    • Seattle Post-Intelligencer
  26. Potter 3 is, in its heart of hearts, a teenage angst movie...Cuaron has done a masterful job of bringing off this shift in the Potter paradigm without disrupting any disruption in the established style of the series and without any pandering concessions to the teen-movie genre.
  27. Pawlikowski has made a gorgeously ambiguous film -- based upon a novel by Helen Cross -- that is blessedly hard to tag; in fact, it's a compilation of genres and moods -- comedy, romance and diabolical thriller -- and that is its core strength and freshness.
  28. After a somewhat shaky start, the film gradually settles in to become another extraordinarily powerful and explosively acted drama that deftly probes the moral responsibility of an artist in a totalitarian society.

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