Seattle Post-Intelligencer's Scores

  • Movies
  • TV
For 2,931 reviews, this publication has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Peter Pan
Lowest review score: 0 Mindhunters
Score distribution:
2931 movie reviews
  1. It is Ferrell's best movie and the summer's funniest comedy so far.
  2. Think of this corrective to Kipling as "The Longest Yard" meets "The Seven Samurai" with cricket bats, choreographed dance numbers, romantic triangles and a rousing call to solidarity.
  3. Its concept is gutsy, its script is literate and intelligent, its visuals and cinematic craftsmanship are mouth-dropping, and its vision of the insanity of various religions vying to dominate the real estate of the Holy Land comes through with great power.
  4. A perceptive, fascinating and relatively evenhanded look at the most radical arm of the American student rebellion of the Vietnam era.
  5. A dazzling movie, gorgeous to look at, involving on both emotional and intellectual levels, and often thrilling.
  6. It's filled to overflowing with mischievous gags for kids and adults alike, tickling the periphery of the story and crammed into every frame with playful abandon. It gives potty humor a good name.
  7. Douglas brings a hilarious kind of Gordon Gekko assurance to his character, and Brooks' long-suffering, naggy persona -- which hasn't had a showcase this strong since "Lost in America" -- sparks off it like Hope with Crosby.
  8. Danny Aiello is right at home as owner Louis, a paternal Italian father to all but his own son, reigning over the throng from his corner table like a benevolent lord and maybe underworld gangster.
  9. Like Kubrick, Field doesn't make any moral judgments about his characters, and his film remains stubbornly enigmatic. It can be read as a high-class revenge thriller, an ode to the futility of vengeance or almost anything in between.
  10. Like Spielberg, even if the content is questionable or the performance is missing, his scenes always manage to be visually thrilling.
  11. Wise, entertaining and often very funny.
  12. Gunnarsson masterfully weaves these strands into a bold, multilayered tapestry surrounding a powerful story.
  13. 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.
  14. A gracefully subtle, sweet-spirited French parable of the brotherhood of man that was nominated for a Golden Globe, won Omar Sharif a César Award for best actor and has been a surprise hit in Europe.
  15. It could be more involving, but it's funny enough that you won't care.
  16. A powerful experience, filled with dazzlingly executed action sequences that generally avoid the rock music and drugged-out conventions of "Apocalypse Now," and even exude a certain core of humanity.
  17. It's funny, touching and crammed to the rafters with clever dialogue, splashy production numbers and stiff-upper-lip charm.
  18. Mühe's performance is brilliant, communicating more turmoil and pain with the droop of a lip and a flicker of the eye across an otherwise intently passive face than all the emotional storms of the cast.
  19. An unusually engrossing World War II epic.
  20. The script, written 20 years ago by the late, great director John Cassavetes, still packs an emotional wallop. [21 Mar 1998]
    • Seattle Post-Intelligencer
  21. Captures the overwhelming and uncontrollable emotional assault of loving and living through captured moments and sensuous images.
  22. It's the warmest, most generous portrait of American hospitality you've seen from a European movie in some time.
  23. 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.
  24. It's more strangely and elementally touching than its predecessors.
  25. The film is an across-the-board charmer that should appeal to children as well as their parents, aficionados of animation and old-movie buffs who will be challenged to sort out the blur of seemingly hundreds of classic film references.
  26. One of the most hilarious and engaging films from producer Judd Apatow's often inconsistent comedy factory, thanks to inspired dialogue, dynamite chemistry between Rogen and Franco and perfectly pitched stoner gags (undoubtedly the result of copious research).
  27. An honorable and often enticing piece of personal filmmaking.
  28. While it lacks the original's streamlined core, the father-son relationship, the sequel gets by on assembled moments of sentiment
  29. With so much going for it, it's sad that Red Eye goes into such a third-act tailspin and cliched slasher-flick finale.
  30. But it also works as a compelling thriller and whodunit; as a powerful political metaphor (the reservation is a kind of microcosm of the Third World and America's relationship to it); and as a piece of environmental mysticism, celebrating - like so many recent films - the psychic purity and spiritual superiority of its aboriginal characters. [3 Apr 1992]
    • Seattle Post-Intelligencer

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