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 An Inconvenient Truth
Lowest review score: 0 Pretty Persuasion
Score distribution:
2,749 movie reviews
  1. Mullan is a great choice as Frank, playing the silent guy with all kinds of baggage perfectly.
  2. Brokedown Palace does have some plot implausibilities but Kaplan, manages to turn some hashed story lines into something substantial and emotionally affecting.
  3. 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.
  4. 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.
  5. It moves so fast you almost forget it leaves the characters in its wake.
  6. Isn't so emotionally powerful as the Oscar-winning "When We Were Kings" but which -- in its more intimate way -- still packs a punch.
  7. 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.
  8. It's an elegant nail-biter.
  9. The simple, unpretentious storytelling of Unleashed is a rarity in the glut of underwritten and overproduced action films that dominate American screens today.
  10. Life on the freeway is hell, but what comes next for these workers might be worse.
  11. Somber and violent but undeniably stylish and unsettling thriller.
  12. 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.
  13. 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.
  14. It's a sumptuous mood piece.
  15. Ends up being empty, anti-climactic and overlong.
  16. This is an adrenaline-pumping, devilishly well-made thriller set against the downfall of an American family.
  17. It's a superior film in every way to its predecessor "Kiss the Girls."
  18. The movie constantly verges on being a parody, but Moore's performance stays miraculously away from caricature.
  19. As good as the film is in so many ways, it also altogether rings a bit false and contrived.
  20. For the most part, it's imaginatively staged and consistently entertaining.
  21. Zhang is a master of detail and spectacle. There is also plenty of comedy, particularly in the scenes with linguistically challenged translators.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. Entertaining and eye-opening.
  27. 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.
  28. 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.
  29. An original, well-crafted plea that uses restraint instead of titillation to make a cautionary tale that aches with pathos and power.

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