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 Friday Night
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
2,749 movie reviews
  1. There's not an original idea rattling around in the empty-headed but gorgeous-to-behold period film.
  2. A pedestrian movie with a predictable romance at its heart.
  3. The results are shapeless, excessively lurid and often unpleasant, with Argento shamelessly vamping the white-trash junkie mother and truck-stop hooker. She apparently forgot whose story she was telling.
  4. Even with the good performances, the paces are just agonizingly familiar. [24 Oct 1997]
    • Seattle Post-Intelligencer
  5. A clumsy, heavy-handed and unnecessarily sordid occult thriller that somehow has managed to generate a big pre-release buzz.
  6. More mediocre than magical.
  7. There isn't a spark in the familiar emotional situation or a reason to care how these amiably bland characters end up.
  8. Low octane comedy running on fumes.
  9. A jargon-filled documentary less interested in culture and history than mechanics, machinery and the rush of speed.
  10. For all its good intentions in exploring the grace of death, November never creates a life outside of its all-too-obvious inspirations and the mystery becomes little more than a groaner.
  11. This is pseudo-cynical comedy, however, not social satire. All the sharp corners are smoothed over and what's left is little more than a big screen sitcom.
  12. Deutch never raises the film beyond its paint-by-numbers blueprint.
  13. Burger is so respectful of the trio that he never gets under their skin. Apart from the generosity of strangers who pay tribute to the soldiers with little acts of kindness, you get the same generic observations of any road movie.
  14. In what essentially is a two-character play, Kirk and Nicholson behave more like acting partners than real people. Their lack of appetite for each other is particularly awkward in the frequent scenes requiring casual nudity and sexual activity.
  15. Its comedy too often blunders into meaningless slapstick, with bombs and bloodshed replacing pratfalls and pies in the face.
  16. Entertaining in a trashy sort of way.
  17. Quaid and Russo outshine the script with their presence and chemistry alone.
  18. Director Jesse Vaughan keeps the ball in play through the aw-shucks lessons in humility and generosity, but the teamwork is shoddy, the plays lack surprise and, finally, Juwanna Mann misses more than it hits.
  19. Campbell fans will get a kick out of it. The rest of the world will likely find this spoof a little too insular and indulgent.
  20. Amy
    In the end, it trivializes the psychological complexity of the girl's post-traumatic stress and betrays a game group of actors who struggle to find balance between the alternately dark drama and the silly, over-the-top melodrama.
  21. Even throwing in a spunky fight between female sidekicks (Gabrielle Union and Kelly Hu) isn't enough to float this film over clumsy dialogue and the feeling we've seen it before.
  22. As always with Stone, the film has some gritty performances and a certain likable audacity.
  23. It's too quick, too pat.
  24. Mostly it's tedious as we watch the photogenic but emotionally blank Chatagny bounce between anonymous sexual encounters.
  25. In many ways this is an extraordinary movie: there's probably never been such a portrait of a major star in the grip of old age.
    • 32 Metascore
    • 50 Critic Score
    A genuinely creepy film, though not in a "No Country for Old Men" kind of way. More in an overzealous-blog-comments kind of way, or a dude-on-the-bus-looking-at-me kind of way. Just ugh.
  26. A mess of incohesiveness and fragmented storytelling.
  27. It's ultimately just numb, a sober wartime romance roused only by Blanchett's intensity and Crudup's passionate swings between righteous anger and moral zeal. The rest is just tired melodrama.
  28. Poetic Justice is much more self-indulgent and self-consciously arty and shows [Singleton's] directorial inexperience in almost every scene. [23 Jul 1993]
    • Seattle Post-Intelligencer
  29. The film can't decide between black comedy and bubblegum comedy, so it shoots aimlessly in between.

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