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 4 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Fallen Idol (re-release)
Lowest review score: 0 Me, Myself & Irene
Score distribution:
2,749 movie reviews
  1. The filmmakers have wildly miscalculated the chemistry these real-life lovers generate on film.
  2. New director John Moore just doesn't have original director Richard Donner's filmmaking flair, so the same scenes done the same way on phony-looking Prague locations without the benefit of Jerry Goldsmith's Oscar-winning score just seem terminally slow and flat.
  3. It's not terrible, but it's mediocre and not much more than a string of cheesy sex gags.
  4. Has neither the raucous energy and impudence of "Animal House," the defiance of "If ...," nor the grace and wit of "Harold and Kumar Go to White Castle."
  5. The cast tries hard and a sprinkling of laughs results, but the project is defeated by a concept that is not very novel, a script that is not especially witty, direction that is neither sharp nor insightful and one-note characters that are simply not very interesting.
  6. Like too many films of faith, it mixes its message, proclaiming that a life given over to God is a reward unto itself, and then handing over victories to its faithful like some overtime bonus.
  7. In the end, there's also something distinctly distasteful about a movie in which the central figure casts himself as noble martyr while character-assassinating his parents.
  8. If, like me, you haven't read this book, the movie makes little sense, and has zero inspirational kick. It's just a depressing parable about a fellow who sinks lower and lower in life until he figures out a nebulous new way to sell God to the masses.
  9. The bad news is that Ferrell's modestly likable performance is the ONLY good thing about this misguided comedy that's so tiresomely written, badly acted by a stellar cast and ploddingly directed (by art-house whiz Marc Forster) that it just never quite gets off the ground.
  10. The result of this blender mash of exotic horror isn't much of anything at all, neither suspenseful, terrifying or inventively gory: Turistas is dead on arrival.
  11. Far from the worst movie of 2006, but it may be the most disappointing. It should have been wonderful -- a delicious tribute to classic Hollywood -- but it simply doesn't come off.
  12. There are cute flourishes, but much of the cleverness is smothered by tired dialogue and doughy animation, which gives the animated characters the personality of mannequins and the look of cheap merchandising knockoffs come to life.
  13. The two central performances are competent but uninspired -- and annoyingly mannered. Pearce's Warhol is a one-note, irresponsible villain and Miller's Sedgwick is a shallow, pretentious party girl who chain-smokes her way through every scene.
  14. The resulting hodgepodge has the feel of filmmaking by committee, the look of last-minute reshoots and the whiff of desperation. Not even Braff's cartoonish smirk is distracting enough to hide that.
  15. It's the script -- by director Mark Fergus (who also wrote the adapted script for "Children of Men") and Hawk Ostby -- that lets everyone down.
  16. The film may be like looking through a stranger's scrapbook. With sketchy and didactic scenes lacking narrative cohesion, it is a collection of often strong images that fail to come to life.
  17. Most of this is harmless enough, but Kasdan's Hollywood logic is simply too implausible.
  18. As hard as it tries to capture that blend of domestic comedy and paternal angst that made its predecessor a classic, it is still a pale shadow and a barely passable Steve Martin vehicle. [20 Dec 1991, p.10]
  19. Good performances are mostly wasted. Phoef Sutton's adaptation of the Abrahams' novel is poor, it works to an absurdly unlikely and dramatically dishonest must-hit-a-home-run conclusion, and - though it tries here and there - it has absolutely nothing new to say on the subject of fan obsession. [16 Aug 1996. p.30]
  20. Director John McTiernan is normally a competent director but he's simply not at his best here. He shows little flair for comedy, his performances are one-dimensional, and his action sequences are predictable and sometimes amazingly sloppy. [18 Jun 1993, p.5]
  21. The Man Without a Face also manages to be an expression of Gibson's well-known political and sexual conservatism. It goes to some lengths to pay homage to John Wayne (three times) while the anti-war left of the '60s is brutally caricatured as a bunch of effete snobs, and the women in this movie are just in the way. [25 Aug 1993, p.c1]
  22. All told, this thing has to be one of the dullest caper movies ever made.
  23. As usual, Albert Finney gives a towering performance in his new movie, "A Man of No Importance," and, as usual, the movie around his performance is not much. [03 Feb 1995]
  24. The film's deliberate pace, its constantly confusing structure, its thematic vagueness and its clumsy and often embarrassingly amateurish Garden of Eden sequences combine to make The Loss of Sexual Innocence at best, a tough sit; at worst, a self-consciously arty parable of a self-indulgent filmmaker. [30 Jun 1999]
  25. Johnny Suede seems in every way a pale imitation that is so vacuous and self-consciously hip that it just fades into nothingness. [13 Nov 1992]
    • 13 Metascore
    • 42 Critic Score
    This belabored summertime sequel is moderately less vulgar, certainly less expensive and, if possible, even less funny than its forerunning bomb, "Daddy Day Care."
  26. It is not giving away much to say that everything ends as expected, just not soon enough.
  27. The combined efforts of three novice screenwriters fail to give shape to a life that was, although devoted to a noble cause, unexceptional.
    • 25 Metascore
    • 42 Critic Score
    Bad animation and casting make Moses movie a zero, not a Ten.
  28. It's a by-the-numbers action affair, and one that is considerably more mean-spirited and humorless than the norm. [4 Aug 1995, p.29]

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