Portland Oregonian's Scores

  • Movies
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 2.7 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:
3654 movie reviews
  1. Like his (Carrey) early work, it's not a particularly good film -- insipidly staged, inanely plotted, too weak to withstand the weight of any inquiries into logic or continuity -- but Carrey's energetic mugging, particularly early on, makes it relatively painless.
  2. The authenticity of its setting and its actors make this effort worth a look.
  3. There's a handful of good scenes (some of the vengeance that's wreaked is priceless) and it's generally well-played. But the soul of the thing isn't distinct enough from the bitterness it portrays.
  4. While breezy and fun, the film is also flimsy and sloppy in style and content.
  5. All you could hope for from a summer movie: dazzling action, jaw-dropping effects, cool clothes, steamy romance and more of the nifty "Matrix" mythology introduced in the 1999 original.
  6. The movie isn't uniformly taut, but it's funny, acid and clever, the work of a fine craftsman working in a comfortable metier.
  7. The performances are uniformly fine, with Perez showing a heavy amount of presence and complexity. It's no wonder the film works best when fixed on his face.
  8. Agreeable and warm, is content for the most part merely to allude to complexity and darkness in the lives of its subjects.
  9. it's so much fun because, like Haynes' film, it's made by people with a genuine love for the entertainment they're bringing back to life. You'd have to be a real prude not to go for it.
  10. In an unassuming way, the film sizzles -- a perfect embodiment, as it happens, of the marriage of the bad man and the man of letters.
  11. An erotic mystery of sorts, the film works because it's laconic rather than talky and its actors are all up for the material.
  12. A murky, turgid work that is no doubt exactly the film Malkovich wished to make but is so indirect and affected as to border on incoherent.
  13. Owning Mahowny may at times feel futile in its colorless, disheartening subject matter, but that's the point -- to see how barren Mahowny's life becomes. Hoffman gives the film relevance.
  14. An engaging spectacle of energy and special effects built around a doomy mood and an ensemble cast vigorously pursuing a story line that isn't nearly as snazzy as the dressing.
  15. Moncrieff's story remains fresh despite the familiarity of its general outline. This is mostly due to the skilled performances she elicits; even when the unfolding events have been seen many times before, watching human beings react realistically never gets old.
  16. The end result is the best documentary you'll see this year, as thrilling a competition as any Super Bowl and as suspenseful a story as any Hitchcock film.
  17. It's gory, it's bleak, it's shamelessly tricky -- and it's also a good deal more fun than it had any right to be.
  18. The combination of emotional anemia, predictable plotting and tepid language makes what might have been a crackerjack treat play like a soggy piece of popcorn.
  19. An unsteady mixture of treacle and dark comedy that never feels as "dark" as it pretends. Though well-intentioned, it's not terribly compelling.
  20. Really, we'd rather just watch a good documentary about the subject. And as the camera flings around, we occasionally forget about what could help the teens and think more about what could help the director: How about a tripod?
  21. A bit of exotic neo-noir, clunky in parts and long, but often engaging and artfully atmospheric as well.
  22. Somewhat marred by Bruno Coulais' treacly New Age score -- as well as by Perrin's somewhat daft and repetitive narration. But the key word is "somewhat." In the main, Winged Migration is an unforgettable piece of moviemaking.
  23. Quick and charming and irresistible.
  24. The Young Unknowns flails about, sometimes realistically, but the cumulative effect is "so what?" These characters may be young and unknown, but they feel old and in the way.
  25. Needing the gristle of its title, the film should have been angrier.
  26. A film that merges cocaine, Ivy League, college applications, the Asian American experience, dark comedy and high school drama while maintaining a personal tone and likable lead characters is just too impressive to knock.
  27. Gallo makes some fatal mistakes in his direction. As Griffin talks, he adds sound effects that are distracting and annoying. It's actually an insult to the comic -- as if his jokes aren't clever enough on their own.
  28. Ponderous, pretentious and boring, Levity becomes ironic on top of itself. You won't pity these people. You'll start laughing at them. Like a clown.
  29. It's a stylish work, seeping with brilliant animation and potentially interesting characters that didn't need so much time to establish themselves. It's worthwhile, but it's a good thing there's a television show to refer to.
  30. Something in the simplicity of its vision gives The Man Without a Past a dimension of heroic grandeur -- and that effect, too, seems to tickle Kaurismaki's funny bone.

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