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 2.7 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. The Lover
    It's interesting to note that one of the most sensuous scenes in "The Lover" - which nearly received an NC-17 rating for its abundance of explicit lovemaking - takes place between two fully clothed people who very cautiously hold hands while riding in the back of a luxurious limousine. There is an electricity to that moment that is almost completely missing from the actual love scenes, which, like the entire film, are artfully photographed and subtly erotic, but which ultimately add little to a character study that could have used a little more (pardon the pun) fleshing out. [13 Nov 1992, p.3]
    • The Seattle Times
  2. Ballerina
    You expect lots of fight scenes in a Wick movie, and Ballerina certainly delivers on that score. Overdelivers, in fact. It’s one damn dust-up after another.
  3. Joker
    While Phoenix is always more than watchable (his scary-Fred-Astaire dance moves, born from Arthur’s habit of watching old movies with his mother, are both mesmerizing and disturbing), “Joker” really has nowhere to go. Its characters are one-note cartoony, but fun is the last thing on this movie’s mind; it’s all despair, from its opening scenes on downward.
  4. The Little Mermaid
    Bailey gives a glowing performance of effortless starshine; her singing voice has both sweetness and power, and her smile is the sort on which dreams dance.
  5. The Ref
    Between Leary, Davis, Spacey and Johns, director Ted Demme (nephew of Jonathan, and director of Leary's MTV spots) has captured lightning in a bottle, and The Ref has enough subtle and not-so-subtle interplay to make a repeat viewing worthwhile.
  6. Cruella
    The fashion alone, designed by the great Jenny Beavan (an Oscar winner for “A Room with a View” and “Mad Max: Fury Road”), is worth the ticket price; if that doesn’t do it for you, there’s also slyly brilliant work from the two Emmas — Stone and Thompson — working hard to upstage the gorgeous outfits in which they’re swathed.
  7. What Happens Later
    If you go expecting a slightly quirky romantic drama with touches of magic realism, not to mention the pleasure of seeing Ryan in one of her rare screen appearances these days, I think you might leave happy.
    • 58 Metascore
    • 63 Critic Score
    The Roses
    For those who like their comedy so dark that it’s practically blackened, may I present The Roses.
  9. Ready or Not 2: Here I Come
    Both Weaving and Newton do great horror-comedy work, by turns beleaguered and enraged, and share some genuinely sweet, funny moments as they repair their relationship.
    • 58 Metascore
    • 75 Critic Score
    Novocaine
    Novocaine wins with violence and personality. It’s simply fun to hang out with Nate.
  11. Complete Unknown
    Because these actors are Weisz, on whose beautiful face emotions flicker like fireflies, and Shannon, whose faintly mournful expressions imply a profound story not yet told, the film is never less than interesting.
  12. Jumanji: Welcome to the Jungle
    Jumanji: Welcome to the Jungle is reasonably clever and reasonably diverting.
  13. Baskin
    As feverish and dark as this first feature by filmmaker Can Evrenol gets, there is a sense that something larger is at stake — an elusive explanation having to do with a recurring dream, twisted destiny and the bond of a promise.
  14. A Kid Like Jake
    It’s a daring premise, which makes Howard’s fluffy approach to the material all the more frustrating.
  15. The Accountant 2
    The Accountant delivered a dependable ‘90s-style throwback action thriller and “The Accountant 2” is much the same, though it embraces a looser, more amusing tone, while playing in a story sandbox that looks like our world, with our issues: immigration, human trafficking, organized crime.
  16. Operation Finale
    It is the scenes in a Buenos Aires safe house between Eichmann (Ben Kingsley) and Mossad agent Peter Malkin (Oscar Isaac), the leader of the abduction team, where “Operation Finale” departs from usual espionage-movie scenarios.
  17. Before I Fall
    Even Deutch’s charming radiance (she never entirely sells Sam’s nasty side) can’t quite get us through the slog of this plot.
  18. It: Chapter Two
    Rather than using the extended running time to dig deep into these characters, director Andy Muschietti, who also directed the original, piles on the frights in a manner that builds to an ending drenched in hysteria.
  19. Spin Me Round
    The entire film feels like an exercise in dashing expectations, for both our heroine and the audience.
  20. F9: The Fast Saga
    In F9, bonkers on top of bonkers results in a truly delightful and vividly sensorial time at the movies.
  21. Jason Bourne
    The movie gets lost in its focus on flash and speed, and forgets about the man — and the fine, quiet actor — at its center.
  22. Year of the Horse
    There's too much feedback and some of the numbers are allowed to go on, Grateful Dead style, but the movie means to invoke a trance, and often it succeeds. [29 Oct 1997, p.C1]
    • The Seattle Times
  23. Victoria and Abdul
    Thanks to Dench, Victoria & Abdul is constantly engaging and at times moving.
    • 58 Metascore
    • 63 Critic Score
    Freaky Tales
    It’s infectious, the love Freaky Tales has for the Oakland, Calif., of the mid-1980s.
    • 58 Metascore
    • 88 Critic Score
    The Object of Beauty
    It's a spirited, sumptuously crafted tale about two spoiled Americans, Jake (John Malkovich) and Tina (Andie MacDowell), who have pushed their credit cards to the limit and now are going bankrupt in a London luxury hotel. Andie MacDowell almost equals her performance in sex, lies, and videotape. Funnier and looser than she was in Green Card, she's on her way to becoming our subtlest screen comedienne. [26 Apr 1991, p.3]
    • The Seattle Times
  26. Under Siege
    Seagal's "best" movie to date, handled with slick blandness by director Andrew Davis (reteaming with Seagal after the star's 1988 debut in "Above the Law). It's depraved and bloodthirsty stuff, which of course means that audiences will flock to this junk (to borrow a line from bone-snappin' Steve) like puppets in some sick play. [09 Oct 1992, p.22]
    • The Seattle Times
  27. Nerve
    Unfortunately, the filmmakers — busily splashing the film in crayon-colored light, vaguely sinister pop music and jittery camerawork — forgot to give Vee and Handsome Stranger (his name’s Ian) much personality.
  28. Neighbors 2: Sorority Rising
    Mark this one down as a sequel that should never have been made.
  29. The Mule
    Eastwood is known for his ruthless efficiency as a filmmaker, but The Mule feels dashed off at best, barely even a movie. It’s a strange rough draft, poorly executed and disastrously performed, despite the starry cast.
  30. The Oath
    Political satire is one of the trickiest of genres; this one, running out of steam and nerve, ultimately becomes a too-familiar example of another genre: the 93-minute movie that feels way, way too long.
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