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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Gosford Park
Lowest review score: 0 Domino
Score distribution:
2,749 movie reviews
  1. Legends of the Fall is one of those movies that is so sloppy and so poorly written and so clumsily directed that every dramatic scene seems to either insult your intelligence or come off as being unintentionally hilarious. [13 Jan 1995]
    • Seattle Post-Intelligencer
  2. It's an unenlightening film that proves youthful anarchy is just as dull as a midlife crisis, and sadly, as predictable, too.
    • 32 Metascore
    • 33 Critic Score
    By the time a member of teen-movie royalty makes a cameo in the film's finale, Not Another Teen Movie has long exhausted any hope of succeeding. Instead it becomes, well, just another teen movie.
  3. A sloppy, indifferent action movie with a sadistic edge and a sour hypocrisy.
    • 23 Metascore
    • 33 Critic Score
    A joyless amalgam of horror movie cliches, none used more exhaustively than the false alarm.
    • 40 Metascore
    • 33 Critic Score
    Most surprising (and disappointing) is the film's lack of humor. Scott, who has a huge following and has developed a lively comic persona, never seems in on the joke.
  4. There's no slow descent into ruthless warfare and we get neither the giddy charge of their bad behavior, nor the guilty sting of complicity in their ruthless desire. All that's left is an idea still in search of a script.
  5. Doesn't even fall in the lowbrow-but-entertaining comedy category. It's unabashedly dumb and pathetically offensive.
  6. The lapses in logic make a weak subplot about a serial killer on the loose just plain silly instead of provocative.
  7. A screaming, silly cliche -- and somehow not a bit scary.
  8. Assails with its in-your-face, repulsively compelling (like a train wreck) brutality.
  9. Unlike "Crying Game" (which, despite the gender confusion, definitely works as a love story for a general audience), the only emotion this movie evokes for its star-crossed lovers is an unpleasant sense of incredulity. [08 Oct 1993]
    • Seattle Post-Intelligencer
  10. Crossroads may now fall into the same paragraph as "Glitter," Mariah Carey's disastrous star vehicle.
    • 26 Metascore
    • 33 Critic Score
    Yes, in this day and age, a tall man can pretend to be a very short man pretending to be a baby who uses his innocent disguise to molest women and whack men in the nuts. Isn't that funny? No, actually, not so much.
  11. Tepid and only sporadically amusing.
  12. Isn't merely bad, it's utterly flavorless and the filmmakers are either too lazy or too cynical to even pretend there's a story behind Lawrence's 21st century homeboy shtick in 14th-century garb.
  13. When the little girl tells her decapititated doll, "It's not just a bad dream," she is right. It's just a bad movie.
  14. If it sounds like Prey for Rock and Roll might be fun despite its shortcomings, it is not. Even those with a predilection for bad movies about rock 'n' roll should avoid this one.
  15. It's incorrigibly unfunny.
  16. Overlong, unscary, poorly paced and banally written.
  17. While too bland and stupid to be offensive, Never Back Down spouts a hollow message of nonviolence while celebrating the brutal satisfaction of beating the crap out of someone.
  18. Is Hollywood so disconnected from its past and bankrupt of ideas that it doesn't even know this movie is a screaming cliché?
  19. Mercifully short -- a mere 80 minutes, plus the end-titles. That means I had to slap myself in the face fewer times than usual to stay awake in a movie this grindingly mediocre.
  20. A first-class snoozer.
  21. The film's one original moment comes when Bluto has a conversation with a cow. The rest of it, from the distorting lens used randomly to suggest unreality, to the twist ending lifted verbatim from the superior "High Tension," is about as imaginative as a portobello steak with onions.
  22. It may be emblematic of new-millennium Hollywood that this movie has turned out to be one more emotionless, brainless, overproduced action film.
  23. Tired and glib, it tries to milk humor from the sniping, sass and simple disrespect of its unpleasant traveling companions.
  24. Ultimately this soppy Pacifier sucks.
  25. It's lively but fails to disguise the fact that his (Charbanic) script is a dud and his career in videos has taught him little about the art of narrative storytelling.
  26. So poorly constructed and so elementally banal that it's a shock the script was written by the same guy (Nicholas Kazan) who wrote such taut thrillers as "At Close Range" and "Reversal of Fortune."

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