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 5x2
Lowest review score: 0 Whipped
Score distribution:
2,749 movie reviews
  1. For three-fourths of its journey, Adaptation is, for my money, the movie of the year: an incredibly audacious and original exercise that challenges the conventions of moviemaking and stretches the boundaries of fiction -- almost, but not quite, to the breaking point.
  2. Tells a light-hearted fictional story and creates a maze of imaginative animation and special effects to illustrate how the heavier thoughts of the science apply to the everyday world.
  3. When it was released in the United States more than 30 years ago, its distributor hacked away 40 minutes of its precise structure. This rerelease restores every meticulous second of Melville's cinematic fantasy.
  4. It's not his (Scorsese) best film, but it's his most accessible and most thoroughly entertaining.
  5. Whatever it is, the film is the first major release of the fall worth talking about: a fast-paced, visually slick, psychologically fascinating Boston-set cops-and-crooks saga.
  6. May well be the most thrilling and educational surfing movie ever.
  7. It works on several levels, and stands out as a wistful meditation on the psychological cost of 9/11.
  8. In a time when even the best of big Hollywood movies all seem to be mired in a certain nagging, unimaginative visual sameness, this one dares to take us to a place we haven't been before.
    • 80 Metascore
    • 91 Critic Score
    It's a special, strangely soothing movie experience that wonderfully celebrates the intricate diversity of life on Earth and the profound emotional bond that can exist between man and beast.
  9. Columbus is a member of the '80s generation and he gives the play authenticity, the respect of a classic, an epic visual scope and a sensibility that's blissfully free of any generational self-pity. It seems to be the movie he was born to make, and he serves it well.
  10. Harry IV is an intelligent, visually seductive and mostly very satisfying fantasy epic of the first order.
  11. Energetic and inventive, it's a satirical, smart, grown-up thriller.
  12. 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.
  13. He (LaBute) pulls the farce and the violence and the fantasies together with a deft touch and a sweetness rare in American films -- especially his.
    • 62 Metascore
    • 91 Critic Score
    What a rare pleasure to see a classic book adapted for the screen and walk out feeling neither bored, offended nor outraged.
  14. Cements director's place as mob-movie master.
  15. A respectful, accomplished, non-exploitative piece of historical filmmaking and -- for audiences -- a gripping white-knuckle ride all the way.
  16. In the end, this is a film about retribution and justice within unjust circumstances. Each character has a personal code of honor -- Arthur, Charlie and Capt. Stanley are all given their dignity -- and it's that code that sets the film apart.
  17. Yimou plays his images like a visual symphony, and turns a potential costume pageant into an exhilarating national myth.
  18. Terrifically fun entertainment; wonderfully shot and acted, instilled with spirit and life and able to woo us with its exhuberant freshness.
  19. The real joy here is the performance of Jean Dujardin, who, besides being very funny as the Gallic Maxwell Smart, is also enormously charismatic and is made to look uncannily (and I do mean uncannily) like the young Sean Connery of "Dr. No" and "Goldfinger."
  20. It's naturalistic, briskly paced and never overreverential. It's not a bit stagy, yet it manages to be dazzling theater.
  21. This moody, progressively enthralling little French psychodrama is very much it's own thing: a boldly conceived, impeccably crafted and wonderfully enigmatic two-character study that turns out to be a most powerful showcase for its two stars.
  22. 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.
  23. Several times, Hotel Rwanda teeters on the edge of making a unique, visionary statement about our times, but can't quite do it. Too bad. If it could have pulled itself together in one brilliant scene, this may have been a great movie, instead of just a very good one.
  24. A paragon of subtlety. Yet this message is exactly what we carry out of the theater, and it lingers on with a powerful resonance.
  25. The film's real feat may be in its production design, in the sumptuousness and veracity with which it re-creates central Saigon and the Vietnamese countryside of the '50s: an exotic lost world of brothels and opium dens, trishaws and ao-dai dresses, Ming-deco interiors and water buffalos in rice paddies.
  26. In a movie era when brand names mean very little, it shows once again that Pixar is a stamp of quality.
  27. The stripped-down dramatic constructs, austere imagery and abstract characters are equal parts poetry and politics, obvious at times but evocative and heartfelt.
  28. The film is magnificently mounted, it moves like a speeding bullet and it's so respectful of Superman traditions that even the pickiest of die-hard fans should love it. After a lapse of two decades, it revitalizes the franchise and makes it seem fresh and alive.

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