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. Lacks the cohesive flow of "Fantasia" and suffers from an attention deficit that seems to mark and flaw our current fast-paced technological era.
  2. Fascinating and mostly sympathetic.
  3. It's a nicely crafted little ensemble piece, but -- like so many films that have become the rage in France in recent years -- it's surprisingly light and forgettable.
  4. It's hard to imagine an upbeat movie about homelessness, but Dark Days is just that.
  5. Has difficulty reaching a resolution. In the final half-hour, the film becomes almost hysterically out of sync with its prior quiet reserve.
  6. The new movie year's poignant love story to beat.
  7. A cheerful and stylish romantic comedy that's easy on the eyes and ears, and makes few demands on the intellect.
  8. An indie film that was lavishly praised and won the Filmmakers Trophy at the Sundance Film Festival earlier this year, rolls along in the well-rutted, dusty tire tracks of other mother-and-daughter road trip
  9. It's a superior film in every way to its predecessor "Kiss the Girls."
    • 55 Metascore
    • 75 Critic Score
    The film still shines.
  10. This tale of kooky social misfits finding their place in the world is an audience pleaser, for all the reasons such tales usually are.
  11. A film with a real depth, resonance and texture, and room for an ensemble of supporting characters.
  12. Non-cultists should enjoy this engaging and well-acted retread -- a film that develops its own charm as it goes along.
  13. A nifty little neo-film noir that's a lot more intriguing and watchable than half the films that make it to the multiplexes.
  14. Sticks in the mind and simply won't go away.
  15. Clever, often hilarious, inside-Hollywood farce that makes the most of... a delightfully absurd premise.
  16. (Fiennes's) Onegin is clueless to anything other than the sensual world, and is finally more repellent than sympathetic.
  17. Both sophisticated and elemental enough for all ages to grasp the message.
  18. There is a ton of psychology and inference in this intriguing first feature by French director Anne-Sophie Birot.
  19. At its best when it remains with the women, and Marshall draws marvelous performances from all.
  20. A reminder of the offbeat comic sensibility and visceral charge that marked him (Sabu) as a director to watch.
  21. It's so beautiful and moving and simple that I'm willing to forgive Majidi his contrivances.
  22. Isn't so emotionally powerful as the Oscar-winning "When We Were Kings" but which -- in its more intimate way -- still packs a punch.
  23. Funny, eccentric and touchingly just, combining a unique interpretation of the time with an offbeat sense of humor.
  24. Exquisite and fragile in visuals and tone, yet has some difficulty with a choppy narrative.
  25. Kahn manages to turn his feast of flesh, navel-gazing talk and self-destructive jealousy into a thoughtful reflection on the subject.
  26. Garcia's dialogue is wonderfully crafted, short, sharp and resonant, and her elegant direction is delicate and handsome.
  27. A quirky little film with an offbeat trajectory that rattles through the bones of story with eyes open to the texture of experience and the dimensions of character.
  28. A disturbing, and disturbingly funny, twist on adolescent love, and Shiota captures the emotional avalanche with understanding.
  29. It's remarkably bright, funny and sweet for a film that wades through so much sleaze, though it can't escape all of the weirdness it worms through.

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