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 The Last Waltz (re-release)
Lowest review score: 0 Mary Reilly
Score distribution:
2,749 movie reviews
  1. Avoid the hype, just go enjoy the movie
  2. Mostly very good. It's exactly the big fix of Saturday-matinee adventure, blazing special effects, inside humor and sly self-references for which its fans have been lusting.
  3. It demands people pay attention and look inward to find the private compass that will navigate us through murky sensibilities that are as capable of seducing us as they are Tom Ripley.
  4. Moves like a bullet and, even if they're overblown, the action sequences are still mostly exhilarating and hypnotic. Moreover, the film's human dimension and character development is richer and more rewarding than the genre requires, and its philosophical underpinning more intellectually audacious and seductive: The film is more of a mind-trip than I expected.
  5. It also boosts the punch of the movie that so many of its action scenes evoke the Iraqi War news footage of the past month, and the "X-Men" premise -- people persecuted because their difference makes them seem threatening -- carries even more relevancy and weight than it did three years ago.
  6. It marks an impressive debut for first-time writer-director Mark Romanek, especially considering his background is in music video. His script is uncluttered and potent, and his direction manipulates a devastating climax that ties the photo/voyeuristic theme together very effectively.
  7. Somehow the movie works like a clock. Its scenes and sensibility are all more than familiar, but it exudes a kind of nostalgic spy-movie charm and, at the same time, is so fresh and free of the usual thriller nonsense that it all seems to be happening for the first time.
  8. Ararat is less about history than the necessity of dialogue and debate, and the devastating effects of stifling dialogue.
  9. Like Spielberg, even if the content is questionable or the performance is missing, his scenes always manage to be visually thrilling.
  10. Despite the cat-and-mouse games between cop and criminal, this is less a battle of wills than one man's battle for his own soul. Nolan bravely treads where few American films dare to delve -- into the world of ambivalence and ambiguity -- and emerges with a compelling portrait.
  11. Darkly funny.
  12. It's an absorbing, progressively unsettling and ultimately very inspiring biographical reflection that, in the interest of creating its subject's internal landscape, plays some chilling tricks on its audience.
  13. Marks a surprising maturity, restraint and confidence to Carrey's acting. Even more than "The Truman Show," he plays it perfectly straight here, and his natural charisma carries the movie with just the right dose of Jimmy Stewart charm.
  14. A dazzling movie, gorgeous to look at, involving on both emotional and intellectual levels, and often thrilling.
  15. Simply enjoy its witty and expertly crafted scenes, its controlled performances, its eccentric but mostly admirable characters, its succession of bleak but cozily Nordic panoramas and its surprisingly optimistic view of the world.
  16. Both intellectually absorbing and emotionally gripping.
  17. Director Juan Carlos Fresnadillo creates the same world of devils and innocents that grounds so much of Spain's modern, seeped-in-Satanic-evil horror, recast in a secular cinematic vocabulary.
  18. Movie is so hip-swingingly infectious and leaves us with such a high that it's hard not to suspect that -- handled right -- it could well become the fall version of "My Big Fat Greek Wedding."
  19. Philip Messina's claustrophobic sets and Cliff Martinez's elegantly creepy score add to the film's distinction and work off Clooney's performance and Soderbergh's staging to create an hypnotic spell and suggest a cosmos full of spiritual possibility.
  20. Lin energizes the grungy palette with stylistic zing, a hopped-up pace and understated humor. His cast carves out vivid characters and the open-ended aftermath takes stock of the moral scarring without moralizing.
  21. The nuttiest big-screen video game you'll ever have the pleasure of seeing somebody else play.
  22. It may not keep you guessing to the end, but there are enough surprises and wry revelations, right down to the last play, to make this a most satisfying cinematic confidence game.
  23. This community finds its balance with an easy effortlessness.
  24. Noyce's movie is a testament to endurance -- the camera caresses the landscape -- instilling us with a respect and reverence for it, its harsh ways and the attachment to it that Australia's indigenous people hold.
  25. First-time feature film director Max Farberbock has given a terrific visual style, resonance, sense of hope and power to the material.
  26. Bruckner's restrained performance reveals a girl drowning in her own lack of self-esteem. When she finally comes up for air, she shatters the surface with a force that, in the hands of a less thoughtful director, could send her spinning down the melodramatic road to ruin.
  27. A funny, sad, scary and ultimately tragic coming-of-age drama/black comedy that skillfully -- and uncompromisingly -- creates its own world and uniquely pessimistic vision.
  28. Occasionally falters in its symbolism and storytelling, but still unnerves because we're never quite sure of our bearings, or whose "reality" we're watching.
  29. The film manages to make the ordinary extraordinary. It takes visual risks, tells its story subjectively through images and moves confidently to a stunning, imaginative climax.
  30. Carrera's direct, unadorned style has none of the searing imagery or cinematic imagination of "Y Tu Mama," but it bristles with passion, anger and a palpable sense of betrayal.

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