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. White Palace doesn't entirely work on this level (and is certainly no "Graduate"), but it carries a fascinating subtext. It dramatizes rejection of '80s values by a member of the '90s generation. Like several movies already released this year, it is a hopeful statement that the new decade will be - if not a return to the '60s - at least a clean break with the recent, shallow past. [19 Oct 1990]
    • Seattle Post-Intelligencer
  2. The Pangs are at their best playing in the style sandbox, creating shivery imagery and eerie moods while exploring nothing deeper than irony and unease, as their climax so effectively demonstrates.
  3. Terrifically fun entertainment; wonderfully shot and acted, instilled with spirit and life and able to woo us with its exhuberant freshness.
  4. So Close is the film "Charlie's Angels: Full Throttle" dreams of being: sleek, silly, completely ridiculous and irresistible.
  5. If you can forgive some woeful casting and a plot that is as creakingly thin as an old staircase, you can enjoy director Christopher Nolan's The Prestige.
  6. This is standard fare on the subject of father and son relations.
  7. An absorbing but somber drama.
  8. While their stories are well worth telling, first-time director Ruskin fails to shape his material into the dynamic film it might have been.
  9. Ponderously plotted, poorly cast, visually undistinguished and devoid of any real verve or charm.
  10. The film perpetuates a self-congratulatory vision of the record's worth, when an opposing point of view would have provided a more balanced perspective.
  11. It is Ferrell's best movie and the summer's funniest comedy so far.
  12. While the animation is only so-so, Mamoru is a good storyteller with a firm grasp on both the story and characters.
  13. What it lacks is the wit or even the cynicism to lighten the emotional load.
  14. An entertaining slice-of-life documentary that gets ever more fascinating as it moves along.
  15. There is a point, however, at which the movie becomes simply sickening. Between the electric shocks and hot-iron branding, feats of grossness are accomplished that are so vile even the hardiest among the cast cannot suppress the upchuck.
  16. While Margot's casual cruelty and the scenes of squirmy discomfort are sometimes painful to watch, the rendering of this disastrous family reunion is seriously, savagely droll.
  17. Rich with insight and cinematic style and beauty, the film tells a uniquely moving and inspiring story. Unfortunately, it takes some stamina to distill its message from its overly long, overindulgent love affair with itself.
  18. The film can't decide between black comedy and bubblegum comedy, so it shoots aimlessly in between.
  19. It may not exactly be a traditional love letter to his wife but actor-turned-executive producer William H. Macy has given her a plum part as Bree in screenwriter-director Duncan Tucker's offbeat road movie.
  20. Much of the monologue feels more self-deprecating and politically intoned than laugh-out-loud hilarious, yet that's pretty much what segregates Cho from less personal stand-up comics like Ellen Degeneres.
  21. Energetic and inventive, it's a satirical, smart, grown-up thriller.
  22. It doesn't, as they say, really work -- but it's enjoyable enough in spots to leave one feeling passably entertained.
    • 66 Metascore
    • 91 Critic Score
    Jonathan Demme's long-awaited Philadelphia is so expertly acted, well-meaning and gutsy that you find yourself constantly pulling for it to be the definitive AIDS movie. [14 Jan 1994, p.13]
    • Seattle Post-Intelligencer
  23. As it turns out, the movie is still very much about two well-dressed undercover cops who strike sexy poses, express plenty of attitude and drive expensive cars and fast boats as pop music plays on the soundtrack and palm trees sway gently in the tropical night.
  24. Even if you don't like the stories, the filmmakers seem incapable of finding a corner of Paris that is not photogenic.
  25. Olivier Dahan's sprawling portrait of the life of Edith Piaf is the kind of grand, passionate historical drama that no one seems to be able to pull off any more.
  26. Anthony Hopkins is a great actor and he gives a resourceful, inventive, compelling performance that holds our attention over three hours. It never convinces us that he is Nixon: he doesn't look much like him, and he misses entirely that incredible shiftiness in his public manner. But it somehow works. [20 Dec 1995, p.C1]
    • Seattle Post-Intelligencer
  27. An endearing comedy that could well end up being one of the year's big hits.
  28. A cogent, optimistic and mostly entertaining slice of ghetto life.
  29. Rodriguez has the chops of a smart-aleck film school brat and the imagination of a big kid, and they come together to remake the world in the image of its young audience. It's more amusement park ride than adventure, which in this case is exactly the demographic he's reaching for.

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