Seattle Post-Intelligencer's Scores

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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:
  1. Positive: 1,824 out of 2931
  2. Mixed: 872 out of 2931
  3. Negative: 235 out of 2931
2931 movie reviews
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  1. Hide and Seek
    Takes itself seriously enough to pull off a clever bit of sleight of hand, but doesn't have much to offer once the twist comes out of hiding.
  2. Freddy vs. Jason
    Doesn't have any of the creepy suspense that graced the first "Friday" movies, and very little of the Daliesque dream imagery of the early "Nightmares." It's just a slam-bang succession of gross-out mutilations, played for giggles.
  3. The Medallion
    So full of limp slapstick silliness and stock characters that it's hard to stay awake through it.
  4. From the Edge of the City
    All the jazzy effects and jumpy editing merely move us quicker to an otherwise predetermined tragedy.
  5. In the Land of Women
    Most of this is harmless enough, but Kasdan's Hollywood logic is simply too implausible.
  6. The Walker
    A mystery that isn't mysterious, a thriller that's barely thrilling.
  7. Made of Honor
    Dempsey also needs some fashion advice. As always, he sports his trademark five o'clock shadow in every scene (which in itself is excessive). But with Dempsey at age 42, it's beginning to make his face look more sinister than sexy, less Dr. McDreamy, more Richard Nixon.
    • 13 Metascore
    • 42 Critic Score
    Daddy Day Camp
    This belabored summertime sequel is moderately less vulgar, certainly less expensive and, if possible, even less funny than its forerunning bomb, "Daddy Day Care."
  9. Another Stakeout
    For fans of Rosie O'Donnell, Another Stakeout is also noteworthy as the first real starring vehicle for the fast-rising, dead-pan comic. But she seems awkward as a lead and never very funny. You get the sense that her considerable talent might be better suited to television, stand-up comedy and supporting roles. [23 July 1993]
    • Seattle Post-Intelligencer
  10. Men of Honor
    Loses focus of whom the film is honoring.
  11. Factory Girl
    The two central performances are competent but uninspired -- and annoyingly mannered. Pearce's Warhol is a one-note, irresponsible villain and Miller's Sedgwick is a shallow, pretentious party girl who chain-smokes her way through every scene.
  12. Last Action Hero
    Director John McTiernan is normally a competent director but he's simply not at his best here. He shows little flair for comedy, his performances are one-dimensional, and his action sequences are predictable and sometimes amazingly sloppy. [18 Jun 1993, p.5]
    • Seattle Post-Intelligencer
  13. Dancer in the Dark
    Fairly incompetent as a musical and rather silly as a drama.
  14. Get Carter
    The movie around Stallone is fairly dreadful, so overly stylized and poorly written that it's always a struggle to stay oriented.
  15. Enigma
    All these good elements have resulted in a movie that is not so much awful as mediocre, disconnected and ultimately incomprehensible.
  16. The Omen
    New director John Moore just doesn't have original director Richard Donner's filmmaking flair, so the same scenes done the same way on phony-looking Prague locations without the benefit of Jerry Goldsmith's Oscar-winning score just seem terminally slow and flat.
  17. CSNY/Déjà Vu
    The concerts themselves are only exciting when Young is at center stage. Although a balding millionaire in his 60s, he retains the ragged energy of a rock 'n' roll road warrior. Not so with the other members, particularly Stills.
  18. Van Helsing
    A monstrous disappointment.
  19. Into the Blue
    An undistinguished treasure-hunting epic that rips off the 1977 movie, "The Deep," in virtually every frame. It's pretty to look at, but so low-voltage and instantly forgettable that it's hardly worth anyone's time.
  20. Swept Away
    Madonna herself is not so much terrible as merely uninvolving. She's quite credible as the harpy of the first act, but she can't pull off the transition and the spark that makes a movie star instantly sympathetic.
  21. Hitman
    The movie's one saving grace is Olyphant ("Live Free and Die Hard," HBO's "Deadwood"), whose sociopathic elegance is gradually winning, and whose dry, monotonic, Eastwood-like delivery of one-liners is frequently, if perhaps unintentionally, very funny.
  22. The Ex
    The resulting hodgepodge has the feel of filmmaking by committee, the look of last-minute reshoots and the whiff of desperation. Not even Braff's cartoonish smirk is distracting enough to hide that.
  23. May
    It wants to be a "Carrie" with a modern-day "Frankenstein" twist, but it lacks the smarts behind the weirdness.
    • 33 Metascore
    • 42 Critic Score
    Raise Your Voice
    An awkward and sometimes confused thing fraught with overwrought emotions and misguided ideals.
    • 47 Metascore
    • 42 Critic Score
    Semi-Pro
    Semi-Pro is the perfect name for this movie, because it feels like a half-baked comedy made by semi-professionals.
  26. The Jungle Book 2
    Unremarkable sequel to the 1967 hit.
  27. After the Sunset
    The movie is a misfire.
  28. Deception
    The film's first-time director, the TV-commercial-trained Marcel Langenegger, is out to emulate Hitchcock with dashes of "Vertigo," "Strangers on a Train" and more. But his homage is uninspired and disconnected, and his film is a bore.
  29. Music Within
    The combined efforts of three novice screenwriters fail to give shape to a life that was, although devoted to a noble cause, unexceptional.
  30. Consenting Adults
    But the movie is mostly just bad, and probably the nadir of Pakula's otherwise distinguished career. As played by Kline and Mastrantonio, victim and wife here are just too dumb to be even remotely sympathetic; and the script is so predictable and yet so utterly preposterous every step of the way that it insults the intelligence of even the most undiscerning moviegoer. [16 Oct 1992]
    • Seattle Post-Intelligencer
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