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 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Cars
Lowest review score: 0 Domino
Score distribution:
2749 movie reviews
  1. Assails with its in-your-face, repulsively compelling (like a train wreck) brutality.
  2. An airless, mannered mess.
  3. The attainment it achieves is in the depths of pointless, mean-spirited exploitation.
  4. Had Araki chosen to illuminate, rather than exploit, the traumatic aftermath of child molestation, his wallow in the horrors of Mysterious Skin might have had a purpose. As it stands, his film is just another trashy look at America as the land of imbecilic perverts.
  5. Its motif is self-pity, Steers displays no particular way with a scene, and, as Igby, Culkin exudes none of the charm or charisma that might keep a more general audience even vaguely interested in his bratty character.
  6. If you're addicted to Billy Bob Thornton's slovenly charm, and thrill to the prospect of watching him talk endlessly about his bodily functions and penchant for anal sex with obese women, this is your movie. If not, it's like 90 minutes in hell.
  7. For the most part, the film is a chaotic blur of disconnected movement that re-creates the feeling of an unforgettably bad concert experience.
  8. Exploitive while it pretends to be empathetic.
  9. There is a point, however, at which the movie becomes simply sickening. Between the electric shocks and hot-iron branding, feats of grossness are accomplished that are so vile even the hardiest among the cast cannot suppress the upchuck.
  10. Unfortunately, this latest effort is so mean-spirited and nasty that you wish Farrell hadn't bothered.
  11. Pierson is a high-powered egotist with appalling tastes and a great-white-father complex, and his whiny family is about as much fun as fingernails on a blackboard.
  12. Since we never see Thomas, we can't care for him. And he's hardly a sympathetic "hero" in his treatment of women and his insistence that other characters honor his personal boundaries while he ignores theirs.
  13. A potentially interesting idea deflated by the absurd proclamations of an arch screenplay and smothered under the ponderous gravity of M. Night Shyamalan's dreary direction.
  14. A gruelingly dull slog through basic horror-movie conventions, should be dumped in the Seine.
  15. When the veterans of this war are finally allowed to tell their own stories, we will have something worth listening to. Body of War is just election year claptrap.
  16. An incomprehensible mess -- so boring and numbingly unworkable that it's hard to imagine what he could have been thinking.
  17. But as an artist, von Trier's contempt for humanity is becoming harder to hide with stylistic flourish. He doesn't even try here, and his arrogance is topped only by his misanthropy.
  18. Tautou seems tired, mean-spirited and utterly devoid of that Audrey Hepburn-like charm that made her the international movie find of 2001.
  19. Contains much abuse and brutality, an annoying celebratory air of pimp-chic and enough explicit gay sex scenes to qualify as (very tepid) soft-core porn.
    • 58 Metascore
    • 25 Critic Score
    In the annals of insufferable family entertainment, the VeggieTales set a new standard.
  20. It has the low-budget look and feel of an indie dating comedy -- and not a very good one at that.
  21. Idiotic.
  22. There is potential for laughs in a satire of rich people spending big money on religious galas, but that is not even the real subject of the picture.
  23. Plays like a pilot for a situation comedy about a 40-year-old carpenter who decides to return to the boxing ring.
  24. It is a pretentious and incoherent blend of ghost story and frontier adventure that becomes more preposterous and idiotic with each passing scene.
  25. The film's one saving grace is Ledger (Mel Gibson's son in "The Patriot").
  26. The film's deliberately overblown cartoonishness and its gleefully pandering adolescent cruelty never blend into the enjoyable style of, say, a good spaghetti western (Rodriguez's acknowledged model), or even a bad Quentin Tarantino movie.
  27. Not only have they (Coen Brothers) stripped it of all its wit and charm, they've loaded it down with the kind of race-baiting and bathroom humor they've always avoided in the past.
  28. An excruciatingly awful thriller.
  29. It may be emblematic of new-millennium Hollywood that this movie has turned out to be one more emotionless, brainless, overproduced action film.

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