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 Proof
Lowest review score: 0 Fair Game
Score distribution:
2,749 movie reviews
  1. Too bad the film, which Kennedy spun from a stand-up skit, remains as blissfully unaware of its possibilities as B-Rad is of his absurdity.
  2. Basically lives up to the old adage that the final work in a trilogy is invariably the weakest.
  3. It is a fairly routine exercise in New Millennium movie mayhem.
    • 49 Metascore
    • 50 Critic Score
    The whole thing feels like watching somebody else play a video game. Director Michael Davis obviously was more interested in crafting a series of gunfights than a coherent story arc.
  4. Splashy and sweetly romantic, if hopelessly unimaginative.
  5. For an ostensibly personal film, this plodding portrait of the self-involved flailing for meaning in a mercenary world has little of Soderbergh's insight, empathy or generous personality.
  6. It feels like a peek into the closet of a pedophile and it's genuinely discomforting.
  7. Think of it as a buffet of romantic comedy comfort food: the good old American standbys complemented by bland international dishes.
    • 39 Metascore
    • 50 Critic Score
    The only real difference between this and the handful of other Happy Madison flicks is that James (executive producer, co-writer, star) has made this Sandleresque movie family-friendly, with very little swearing, no nudity and all the edginess of a "King of Queens" rerun.
  8. It's a colorful and exuberant but by-the-numbers and fairly charm-free concoction.
  9. There's no conviction among these self-involved folks who sidestep commitment with a quip and a grin.
    • 36 Metascore
    • 50 Critic Score
    A forgettable waste of time.
  10. Scott, whose sensitive turn as a priest inspired by Ralph's conviction and commitment gives the film a touch of grace at the cost of revealing McGowan's drab direction of every other actor.
  11. The Black Dahlia, looks so terrific and is filled with so many imaginatively showy sequences and masterful directorial touches that you almost don't notice that, in every other way, it's just not a very good movie.
  12. Moormann's reverential documentary, seven years in the making, is most successful as a self-narrated autobiography. It fails, however, to deliver a balanced portrait of the man's life and work.
  13. Edgy, hard-boiled crime drama that is very much in this Tarantino-esque tradition.
  14. 21
    A thoroughly ordinary drama of temptation, dubious redemption and easy revenge.
  15. Offers precious little inspiration, and the only irony it manages is surely unintended.
  16. As a sports documentary, Murderball is tame and uninvolving. It does however, offer a hard-edged and unsentimental portrait of strong-willed people.
  17. You can feel the debt to Sidney Lumet's '70s studies in police corruption and cop brotherhood, but O'Connor never captures the edge of danger, anger and moral stands being ground up in compromise.
  18. Reportedly, Lucas has been tinkering with this "director's cut" for nearly two years, so its sound and visual elements -- which were fairly impressive to begin with -- have been markedly enhanced, while new digital backgrounds give the film a more epic scale. Still, it's an extraordinarily unengaging and tedious affair.
    • 49 Metascore
    • 50 Critic Score
    How strange it is to see a film that's supposed to be all about the burning passion and unquenchable exhilaration of true love, and yet is rather passionless and unexhilarating.
  19. The unlikely marriage of Murphy and Craven is indeed strange, and it results in what often seems to be two diametrically opposed movies in one. Still, it's not quite as bad an idea as it sounds, and the movie is passably entertaining. [27 Oct 1995, p.30]
    • Seattle Post-Intelligencer
  20. Certainly, it's mediocre, but no more so than half the comedies that are wildly promoted by their studios these days.
  21. Washington's fire and righteous anger can only do so much, and the token grit amounts to a few grains of sand in the sentimental machinery.
  22. Yet for all the debauchery, there's a juvenile candor in its knowing embrace of teen sex comedy cliches, as if the entire film is just one of Scott's fantasies. You half expect him to jolt awake at the end, and why not? The film fades just like a half-remembered dream.
    • 36 Metascore
    • 50 Critic Score
    Sure-handed actionmeister Donner keeps the pacing breathless, and gives his actors plenty of room to do their thing. [15 May 1992]
    • Seattle Post-Intelligencer
  23. Not as funny as the original, not nearly as funny.
  24. The most interesting moments in the film are the videotapes sent back and forth between the parents and students, as they communicate the sadness of children separated from their distant families.
  25. Such an air of dumbness hovers over the movie, and it's all played so broadly that nothing about it is remotely believable.

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