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 Pan's Labyrinth
Lowest review score: 0 Me, Myself & Irene
Score distribution:
2,749 movie reviews
  1. Ironically, the challenge of directing a Japanese-language film with a non-English-speaking cast seems to have brought out the very best in Eastwood. His vision is alternately intimate and sweeping, his touch never seemed more light and sure, and several of his scenes are so delicate, dynamic and prototypically Japanese they could have been directed by Akira Kurosawa.
  2. 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.
  3. An unusually satisfying and inspiring historical epic from one of contemporary cinema's best filmmakers.
  4. An absorbing and fulfilling experience -- even though it ends with a question mark.
  5. The sudden turns of temperament are a treat after the smart-ass attitude of American horror flicks, and the film is full of minor surprises, squirming in unexpected directions without leaving the conventions behind.
  6. 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.
    • 66 Metascore
    • 91 Critic Score
    Jonathan Demme's long-awaited Philadelphia is so expertly acted, well-meaning and gutsy that you find yourself constantly pulling for it to be the definitive AIDS movie. [14 Jan 1994, p.13]
    • Seattle Post-Intelligencer
  7. A highly original and progressively riveting personal adventure.
  8. The film is an extraordinarily complex, well-rounded and multileveled portrait of how Crumb got to be the way he is, as well as a tribute to how he was miraculously able to rise above his dysfunctional roots by putting his demons into his art. [16 Jun 1995]
    • Seattle Post-Intelligencer
  9. The movie is basically a piece of fluff, not always coherently directed and almost too consistently somber for a movie that wants to be a romantic comedy. Still, it comes together with considerable emotional impact, mainly on the strength of the stars. [24 May 1991, p.14]
    • Seattle Post-Intelligencer
  10. The film is a charming little romantic comedy based on a high-concept premise - one of those fraudulent marriages whereby an alien marries an American citizen to get his green card, or permanent residency. [11 Jan 1991, p. 6]
    • Seattle Post-Intelligencer
  11. Cements director's place as mob-movie master.
  12. 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
  13. Even if you don't like the stories, the filmmakers seem incapable of finding a corner of Paris that is not photogenic.
  14. It's a rich, engrossing ensemble drama that reveals itself very slowly, is filled with multidimensional characters and multi-layered performances, and works toward an amazingly verisimilitude. [19 Jan 1996]
    • Seattle Post-Intelligencer
    • 81 Metascore
    • 91 Critic Score
    Despite the jumble, Kon's eye-popping, surreal mastery of the Japanese dream is awakening.
  15. Olivier Dahan's sprawling portrait of the life of Edith Piaf is the kind of grand, passionate historical drama that no one seems to be able to pull off any more.
  16. Long for an animated feature and too demanding for very young children, but it's also filled with delights.
  17. Broad and funny, its sensibility is very campy and it's out to be loved by everyone.
  18. A bare outline of the plot reads like a space-adventure thriller with end-of-the-world stakes and a hint of celestial spirituality, and the haunted spaceship twist in the third act is pure B-movie madness.
  19. Pitt won the Best Actor award at Venice for his Jesse...Yet it's Affleck who impresses most as the wary, skittish Bob.
  20. 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.
  21. A witty little comic gem with a heart and a soul.
  22. Most political films involving children are vicious or sentimental. The Year My Parents Went on Vacation, set in 1970 when Brazil was under the military dictatorship of General Emilio Medici, is neither.
  23. An exhilarating musical experience.
  24. It works on several levels, and stands out as a wistful meditation on the psychological cost of 9/11.
  25. Is it possible to have yet another expensive excursion into this genre that seems in any way fresh, original and alive? The answer, surprisingly, is yes.
    • 53 Metascore
    • 91 Critic Score
    Korine's latest film, Mister Lonely, is no different, but this film has a sweetness that has rarely, if ever, been present in his previous work.
  26. Perhaps the most ingeniously imaginative element in Son of Rambow, a film exploding with imagination (some of it scrawled directly over the film in animated expressions of Will's private world), is its very conceit.
  27. A deliciously vivid adventure fantasy.

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