The Seattle Times' Scores

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For 1,952 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 Gladiator
Lowest review score: 0 It's Pat: The Movie
Score distribution:
  1. Positive: 1,402 out of 1952
  2. Mixed: 293 out of 1952
  3. Negative: 257 out of 1952
1952 movie reviews
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  1. Hello, My Name Is Doris
    Field, carrying the movie on her shoulders and handing it to us for our approval, makes us root for wistful Doris. Single-handedly, she makes the movie work. I didn’t always believe Doris’ behavior, but I knew I wanted to see her smile again.
  2. The Last Suit
    Much like David Lynch’s “The Straight Story,” a broken-down Abraham is forced to accept the kindness of strangers along his journey. In return, this proud Jewish tailor bestows the life wisdom that came at a terrible price.
  3. Split
    You can see why McAvoy was drawn to the role — it’s as if he’s playing every character in a very populated if not particularly well-scripted play — and he demonstrates a shellacked creepiness that’s effective. But Shyamalan can’t find much else that’s new or appealing in this overlong girls-in-peril exercise.
  4. Normal
    The irony and meaninglessness of the violence rankles, especially when Ulysses is presented as such a nice guy who is prone to de-escalation and community care in his day-to-day work.
  5. Until the End of the World
    Despite all of the personalized Wenders touches, it ultimately resembles many a top-heavy, star-laden, special-effects-driven production from the major-studio assembly lines.
    • The Seattle Times
  6. Alpha
    Hughes’ handling of the material is unfailingly serious but the picture’s tendency to stray into the ridiculous robs it of the majesty the director so clearly hoped to achieve.
  7. The Devil Wears Prada 2
    The Devil Wears Prada 2 gives us a lot to look at, and Hathaway and Blunt in particular are a pleasure (they have a scene together, late in the film, that’s almost worth the ticket price right there), but it’s flat Champagne: maybe worth drinking in a pinch, but unsatisfying.
  8. Free Fire
    Its take-no-prisoners pacing [takes] it up a notch from the average low-budget shoot ’em up.
  9. Keanu
    Key and Peele’s fast-talking chemistry, as they shift their language instantly from suburbanite to street (a theme in many of their sketches), make Clarence and Rell’s transformation into bellowing, gun-wielding tough guys and back again feel fresh and often very funny.
  10. A Haunting in Venice
    As always, it’s a pleasure to watch Branagh’s Poirot as he watches, never missing a thing; may he return, with a more worthy corpse next time around.
  11. The Matrix Resurrections
    Wachowski has taken the familiar and modified it in such a way to make it seem new. It’s a brilliant act of transformation.
  12. Thanksgiving
    By the time the big reveal comes along, it’s almost beside the point. The audience, so numbed by the gore, is likely to barely care who indeed did it.
  13. Hotel Mumbai
    It’s a horrifying tale, and Maras, a Greek-Australian filmmaker, does not shy away from showing the carnage.
  14. Oh, Hi!
    Incisive, insightful and very funny.
  15. Solo: A Star Wars Story
    Good fun, and all that, but its flawed central performance ultimately makes “Solo” a distinct disappointment.
  16. Arizona Dream
    Depp, who has never looked so angelic, is covering familiar ground here, playing another Gilbert Grape type who's involved with an older woman. [9 Sept 1994, p.H34]
    • The Seattle Times
  17. Totally Killer
    It wants to make a joke at its source material’s expense, but all it ever accomplishes is making you want to watch those classics instead.
    • 62 Metascore
    • 75 Critic Score
    Prelude to a Kiss
    This small-focus film proves that Alec Baldwin can be convincing as a sensitive New Age kinda guy instead of the gloating scumbags he often portrays. And it suggests Hollywood can occasionally adapt a hit play to celluloid without contorting it beyond recognition. [10 Jul 1992, p.20]
    • The Seattle Times
    • 62 Metascore
    • 63 Critic Score
    Let Sleeping Corpses Lie
    Spanish director Jorge Grau's take on "Night of the Living Dead" is set in the English countryside and starts off slowly but has a tense last half. [27 Oct 2000]
    • The Seattle Times
  20. Bitter Moon
    Polanski has created his funniest and possibly his cruelest movie: a thoroughly warped tale of sexual obsession that leaves its quartet of lust-driven characters with nowhere left to hide. [18 Mar 1994, p.D3]
    • The Seattle Times
  21. Loving Vincent
    It was a pleasure to become happily lost in this unique film’s world of color and line, and to see two filmmakers’ mad dream come true.
  22. Young Woman and the Sea
    This may not be quite the movie that Ederle deserves, but it’s the one that we’ve got, and it’s definitely a story worth telling.
  23. American Folk
    The film has a certain charm, and fans of folk music should be more than happy.
  24. White Fang
    White Fang is one of the best family films around right now. The violence is not too intense, the harshness of the frontier is downplayed without being ignored, and the wildlife footage is reminiscent of the best Disney documentaries. [18 Jan 1991, p.22]
    • The Seattle Times
  25. Beetlejuice Beetlejuice
    Should you be looking for narrative cohesion, look elsewhere. “Beetlejuice Beetlejuice” is bananas, in its high-end way — bananas wrapped in gorgeous Colleen Atwood costumes, and performed by actors who are clearly having a ball.
  26. Red White & Royal Blue
    To paraphrase a song that pops up in the film — of course it does — during one of countless swoony moments, you can’t help falling in love with this movie.
  27. Henry & June
    It's wry and stylish and perfectly cast, and only occasionally does it fall into the trap of taking itself as seriously as its characters sometimes do. [05 Oct 1990, p.26]
    • The Seattle Times
  28. Sadie
    Its honesty and power makes it feel large; you live among these characters in their weary trailer park, aching for them.
  29. Kong: Skull Island
    Kong: Skull Island won’t win any points for the brilliance of its writing (or for the way it reduces a terrific actor like Larson to a personality-free camera-clicker) — but oh, that ape
  30. Something to Talk About
    Somewhere around the middle of Something to Talk About, I stopped believing or caring about the people on the screen. Almost imperceptibly, the movie's engaging characters and sharp dialogue slipped into artificiality, betraying themselves as puppets of a movie forcing them toward a predetermined outcome that doesn't quite mesh with their established reality. Up to that point, the movie had been a lot of fun. [4 Aug 1995, p.C1]
    • The Seattle Times
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