The Seattle Times' Scores

  • Movies
For 1,201 reviews, this publication has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Europa Europa
Lowest review score: 12 Bride of Chucky
Score distribution:
1201 movie reviews
  1. The changes Bissell makes to the story are overly contrived, and the writing and editing are shaky. Most egregiously, Ann’s perspective is completely underwritten, without any personal history and the single humanizing factor of one daughter, who appears only briefly.
  2. In the midst of that hostile physical and psychic landscape, de Clermont-Tonnerre has made a stringent tale of a struggle for redemption.
  3. It’s a horrifying tale, and Maras, a Greek-Australian filmmaker, does not shy away from showing the carnage.
  4. Burton’s command of this material and his masterful visual sense makes this Dumbo an engaging delight. Like that winsome elephant, it really does soar.
  5. Us
    In only his second movie as a director, Peele is already a master of tone, and Us is full of memorable, vivid touches.
  6. Moore lets us see, through her quietly shining performance, that Gloria believes in love, in the way an old song can make you feel a little younger, and in the power of dressing up and hitting a dance floor by yourself, moving as if in a trance, letting the music take you to a better place.
  7. Along the way, Hummingbird offers cogent commentary on the way unbridled avarice drives the search for even the smallest advantage in the cutthroat world of high finance.
    • 55 Metascore
    • 75 Critic Score
    Even with that major miscue, Nancy Drew and the Hidden Staircase works well for its target audience. It shows that anyone can stand up to peer pressure, bullying or even a ghost if they are smart and strong enough. As for the mystery of how good the movie is, the case is closed on a positive note.
  8. It’s colorful. It’s predictable. And also quickly forgettable. Genuine wonderment is in short supply in Wonder Park.
  9. The Wedding Guest is a thriller without thrills.
  10. Because the film is such a technically dazzling marvel of staging, cinematography and sound, it is as physically and visually intoxicating as the punch, but Noe has loaded the transfixing, orgiastic display with land mines that will always keep you on your toes.
  11. There’s gunplay aplenty here, but nothing about “The Kid” sets it apart from the many Billy the Kid movies that have preceded it.
  12. When greed runs up against conscience, you’ve got a story. It does in Triple Frontier, and the story of that collision is a violent and thought-provoking one.
  13. In other words: yes, it’s fun.
  14. There’s a lovely sense, throughout the film, of how real life sometimes interrupts things, the way a child’s prattling disrupts the pretty wedding ceremony, or how even in the midst of grief breakfast must be made.
  15. Greta is a disappointment from Jordan, who’s made far better movies (“The Crying Game,” “The End of the Affair” and, more recently, the elegant vampire film “Byzantium”), but Huppert seizes hold of the film and chills it, in a way that’s both shiver-inducing and bracing.
  16. This is history brought to life, something absolutely unprecedented in the annals of humankind.
  17. Take “Billy Elliot,” trade the refined world of ballet for the “soap opera in spandex” of professional wrestling, swap the preteen boy for a young woman, throw in The Rock — because every movie is better with The Rock, right? — and you’ve got Fighting With My Family, a shaggily likable underdog tale.
  18. Frequent, fiery battle scenes are well mounted, and in between are tenderer moments.
  19. With tonal inconsistencies and poorly written characters, any awe inspired by Alita: Battle Angel is replaced with a profound sense of confusion.
  20. Isn’t It Romantic both spoofs rom-com conventions and embraces them; it’s a tricky balance, but it doesn’t fall off the wire.
  21. If tense man-against-nature arm-wrestling is your jam (think Robert Redford in “All Is Lost,” but with snow and Mads Mikkelsen) this film makes for a compelling hour and a half; you know where it’s going, but you never quite believe it’ll actually get there.
  22. Capernaum is a searing, unforgettable work.
  23. It’s a bunch of plastic blocks that have an adventure, and it’s basically insane; not quite as pleasantly so as the first movie (the element of astonished surprise isn’t there), but hey, that’s a high bar. Everything is … oh, damn it, there I go again.
  24. What we have here is mostly a straight-up, mildly raunchy rom-com, where everyone learns lessons and gets a happy ending. But Shankman gives it all an agreeable bounce, and Henson (better known for dramatic roles, in “Hidden Figures,” “The Curious Case of Benjamin Button” and TV’s “Empire”) zestfully dives into the comedy.
  25. Rodriguez does just enough to keep things mildly interesting.
  26. Its primary tone is wistful; a slow, reluctant goodbye, not just to an act but to an era. By its end, all you want is to see that dance, just one more time.
  27. Let’s just say that things aren’t always what they seem, and that there is not enough popcorn in the world to make this particular twist go down.
  28. Cold War seduces its viewer, in its brief running time. You might find, in the quiet of its poignant ending, that it has left its mark on your heart.
  29. M. Night Shyamalan has crafted a very effective creepshow with Glass.

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