The Seattle Times' Scores

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For 1,951 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: 1,401 out of 1951
  2. Mixed: 293 out of 1951
  3. Negative: 257 out of 1951
1951 movie reviews
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  1. Silence
    The silence in Silence is deep and profound.
  2. A Monster Calls
    Older audiences braced for tragedy may be drawn to its imaginative visuals — the stories told by the monster are rendered in delicate, painterly animation — and to the achingly vulnerable, growing-up-too-fast boy at its center.
  3. Hidden Figures
    Feels utterly fresh for our times.
  4. By Sidney Lumet
    It’s the kind of documentary that might serve as a perfect introduction to Lumet’s work; when it’s done, you want to watch all of these films immediately.
  5. Fences
    Though every performance is splendid, it’s Washington and Davis who create a mesmerizing symphony of emotion, finding both love and tragedy in every look, every line.
  6. Lion
    It’s a mesmerizing story, particularly that vivid first half, told with great economy and few words.
  7. Elle
    There are several ways you can watch Elle, only one of which is mildly enjoyable.
  8. Why Him?
    What say we tiptoe quietly away and pretend this movie never happened?
  9. Assassin's Creed
    The picture has an undeniable rough stylishness...but in terms of coherence of storytelling it leaves the audience choking on all that swirling dust.
  10. Sing
    It’s hard to get too excited about Sing, which takes a bit too long to travel its familiar path, but it’s also quite impossible to dislike it.
  11. Passengers
    Passengers turns out to be a very strange journey indeed; here’s hoping these two team up again, in something more worthy of them.
  12. Solace
    The film is ponderous, the performances mostly subdued.
  13. The Hollow Point
    Within this uncertain world, Lopéz-Gallego relishes such noir staples as fatalistic shadows, eruptive mayhem and terse, ironic dialogue. But he and his cinematographer, Jose David Montero, also carve out fresh visual territory.
  14. Collateral Beauty
    Collateral Beauty is a pretty terrible movie, but it left me with one overarching thought: My life, and surely yours, too, would be vastly improved if only Helen Mirren were perpetually lurking nearby, offering advice.
  15. Jackie
    Jackie is mesmerizing; a familiar story told from an entirely different angle. It’s voyeuristic, to be sure — the scenes of Jackie alone in her White House bedroom, after the shooting, feel almost unbearably intimate — but you can’t look away.
  16. La La Land
    Like a gift from the movie gods, here comes Damien Chazelle’s dreamy La La Land, right when a lot of us are in desperate need of some light. It’s a valentine to cinema, splashed with primary colors and velvety L.A. sunsets.
  17. Rogue One: A Star Wars Story
    The action sequences, both on the ground and in space, are rousingly staged. But the losses incurred in those sequences are sobering. The stakes in the “Star Wars” rebellion are high indeed.
  18. Burn Country
    The performances are first rate, particularly Rains’ work in the lead role.
  19. Office Christmas Party
    It’s fun to spend time with these performers, but you wish they were invited to a better party.
  20. Old Stone
    Director Ma has made a quietly merciless picture, a horror movie, really, about a decent man, an ordinary man, left alone, bereft, embittered, ruined by his act of decency.
  21. Manchester by the Sea
    Every Manchester scene gives you a sense of the kind of place where everyone knows everyone, where it’s bitter cold but nobody makes too much of it, where the past stays with you whether you want it to or not. This is a movie that pays careful attention to details.
  22. Man Down
    Offering only an atmosphere of deepening gloom and a premise of utter hopelessness, Man Down is like movie antimatter: It repels interest.
  23. The Love Witch
    Weirdest. Feminist. Movie. Ever.
  24. Bad Santa 2
    If ever there was a movie that should never have been made, Bad Santa 2 is that movie. It’s vile, like something written by a pen dipped in bile.
  25. Allied
    Allied runs out of steam before its overwrought ending. It’s as if the film, struggling under the weight of the classic epics it recalls, just gives up.
  26. Nocturnal Animals
    Nocturnal Animals is, I think, a beautiful mess, but I might have to watch it again to be sure.
  27. The Tree of Life
    Malick, director of photography Emmanuel Lubezki and the cast create a mood that lifts the viewer through the occasional head-scratching moments and into a place of serenity, where answers somehow seem in reach.
  28. The Eagle Huntress
    If The Eagle Huntress sounds familiar, that’s because the outline of a modern feminist epic is always there in the background. What’s surprising is how fresh and charming the movie manages to be.
  29. Rules Don't Apply
    Beatty directed and wrote the script, but from a man who made the weighty epic “Reds” and the corrosively funny “Bulworth,” Rules Don’t Apply feels curiously weightless and as forgettable as its title.
  30. Moana
    Everything in the picture, from the characters’ clothes and hairstyles to the vessels they sail, bear the stamp of authenticity. But Moana’s greatest strength is the verve in which they move the action along and the sheer joyousness evident in every aspect of their storytelling.
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