Portland Oregonian's Scores

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For 3,654 reviews, this publication has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 2.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Caesar Must Die
Lowest review score: 0 Summer Catch
Score distribution:
  1. Positive: 2,408 out of 3654
  2. Mixed: 966 out of 3654
  3. Negative: 280 out of 3654
3654 movie reviews
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  1. Sarah's Key
    Sarah's story is harrowing and powerfully told, as she valiantly attempts to escape and return home with the key to free her brother. Director Gilles Paquet-Brenner doesn't stint on depicting the indignities and violence inflicted even on children, and Mayance's performance is exceptionally strong.
  2. The Hobbit: The Battle of the Five Armies
    The "Hobbit" trilogy started slowly and ended with a rush, heroes and villians fighting it out over a mountain of gold. What kid of any age can resist that?
  3. Army of Darkness
    Campbell is a whirlwind of action -- punching, kicking, pratfalling -- as well as a hilarious parody of a comic book hero. [12 March 1993, p.20]
    • Portland Oregonian
  4. Anywhere But Here
    A smart study of the identity-shredding inherent in so much dissatisfaction and relocation.
    • Portland Oregonian
  5. Winter Solstice
    The title is too cutesy and clever, but it's about the only unsubtle aspect of this poignant, humble drama that'll probably get lost amid the multiplex bombast, but shouldn't.
  6. My Afternoons with Margueritte
    The only thing that could make this movie more French would be a guillotine.
  7. Rory O'Shea Was Here
    Perhaps a better moniker would have been "One Flew Over My Left Foot."
  8. The Ballad of Jack and Rose
    Daniel Day-Lewis may be one of our great actors, but he trips over a few Method-acting speed bumps in wife Rebecca Miller's third writer-director effort.
  9. Go for Sisters
    Sayles has always had a gift for female characters, and Go for Sisters features a couple of good ones.
  10. The Contender
    An assured and gripping political drama filled with remarkable performances and razor-sharp writing and editing.
    • Portland Oregonian
  11. J. Edgar
    Eastwood never manages to bring the past to life, even as DiCaprio and company dive gamely into the material.
    • 59 Metascore
    • 83 Critic Score
    Mr. Peabody & Sherman
    The film also has the original show's spirit and some of its old-fashioned charm.
  13. Seeking a Friend for the End of the World
    Predictable, contrived, sappy and, ultimately, against all odds, remarkably fulfilling.
  14. Alien 3
    The tip-off that something different is afoot in Alien 3 comes right at the beginning. [22 May 1992, p.AE15]
    • Portland Oregonian
  15. The Railway Man
    The Railway Man wants to be two or three different movies wrapped up in one and ends up being a fairly mediocre version of each.
  16. Deja Vu
    The movie's biggest charm is its unpredictable, offbeat tone.
  17. Run All Night
    Harris, crinkly and laser-eyed, has enough gravity to hang with Neeson. Their scenes together anchor a movie that gets away from itself at times and relies on the tired family-in-jeopardy final act.
  18. We Own the Night
    This is a perfectly serviceable thriller. It's just not the New York family crime saga it clearly wants to be.
  19. Lakeboat
    It works for the most part, though some scenes come off contrived or directed without flavor. But thanks to the likable, rough-hewn crew and Forster, the film flows along gruffly and with eloquence.
    • Portland Oregonian
  20. Nico and Dani
    Delivers the oft-trod subject of boys' sexuality with intelligence and freshness.
    • Portland Oregonian
  21. Signs
    A deeply weird film, accomplished, gripping, disorienting, icily adept and barking mad at once. It makes for invigorating viewing.
  22. Austin Powers: The Spy Who Shagged Me
    For long stretches, the film is just as funny as the first -- which is saying something, since the first is one of the funniest comedies of the decade, the only film in years to truly infiltrate our communal language and sense of humor.
    • Portland Oregonian
  23. Intact
    Effectively thrilling.
  24. Legally Blonde
    Alas, the movie just isn't bouncy, fresh or funny enough. It's just not blonde enough.
  25. Moonlight Mile
    Understands that extreme feelings bring out weird reactions. Tension and sadness will occasionally be interrupted by humor -- even slapstick.
    • Portland Oregonian
    • 59 Metascore
    • 58 Critic Score
    Pearl Jam Twenty
    At its best, Pearl Jam 20 makes a convincing argument that Nirvana wasn't the most iconic band to rise from the grunge scene. Ultimately, however, Crowe's fanboy treatment pushes it into a mosh pit of mediocrity.
  27. Savages
    Stone seems to take a little vicarious pleasure in making these relative lightweights squirm in fear and confusion.
  28. Roll Bounce
    This movie is a powerfully silly brain vacation. It's a by-the-numbers underdogs vs. bullies comedy.
  29. Molière
    Sometimes it's fun to put on costumes and wigs and just goof around.
  30. The Lie
    It's a film that casually mixes comedy with dread more or less deftly until faltering near the end. Up to then, however, it imparts the sensation that, along with Lonnie, you are being cooked alive in a pot of water that's slowly but steadily heating up toward the boiling point.
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