The Seattle Times' Scores

  • Movies
For 962 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 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Spirited Away
Lowest review score: 12 Norm of the North
Score distribution:
962 movie reviews
  1. 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.
  2. M. Night Shyamalan has crafted a very effective creepshow with Glass.
  3. The picture’s ultimate destination is marked with an obviousness so bright it can be seen from space.
  4. The Aspern Papers, brief as it is, needed more of a lightness of touch; if you weigh down melodrama too much, it dies.
  5. While the structure occasionally feels a bit awkward, On the Basis of Sex has the kind of crowd-pleasing story that skims over any minor shortcomings; by its end, you’re ready to cheer.
  6. If Beale Street Could Talk is a film about injustice, about patience and anger, beauty and despair — but, ultimately, it’s about love.
  7. The film’s light, sardonic approach is a tricky match with its subject matter: 9/11; power-crazed, empty-souled politicians; dark ambitions. It’s entertaining, sure, but a lot of us might not feel like laughing.
  8. It isn’t “Working Girl” — Second Act is more earnest and less funny — but it’s a pleasant enough diversion, helped along immensely by Lopez’s warm screen presence and by a first-rate Sassy Best Friend performance by Leah Remini.
  9. It seems director James Wan had one overarching goal in making “Aquaman.” His prime directive? Crush the audience into submission.
  10. Most of all, you see Roberts, who takes hold of this movie like a lamppost in the winter darkness. That huge Julia Roberts smile turns up here, but it’s haunting.
  11. For his live-action debut, Knight slips into Bay boomboom mode.
  12. Röhrig’s performance is an extraordinary feat of minimalism. His expressions convey a deadened spirit. Yet behind his eyes and at the corners of his mouth are signs of a spirit that won’t be crushed.
  13. Mortal Engines hasn’t much in the way of originality, other than its rolling city, to distinguish it from other, better post-apocalyptic tales.
  14. 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.
  15. Mary Poppins Returns, made with palpable love for its predecessor, is glorious and gorgeous, and I adored it.
  16. Into the Spider-Verse is pure fun, nonstop from start to finish.
  17. You find yourself focusing on the details of Alexandra Byrne’s flowing costumes, or on the wince-inducing meticulousness of Robbie’s post-pox makeup, rather than caught up in the story. Except when Ronan’s face catches the light; there, Mary Queen of Scots finds its fire.
  18. Just as it lulls you, it also devastates.
  19. Alfonso Cuarón’s Roma is a wondrously pure example of one of the great gifts that cinema can give us: to drop us into a time, a place and a life; immersing us in the sounds and the sights and the emotions, large and small, experienced by someone we’re not.
  20. Does “Anna” deliver on its billing? Well, it does for a while. For its first half, the movie’s blend of earnest teen crooning and dismembered blood-geyser heads is pretty entertaining.
  21. The real fun here is in the three central performances, each of which threatens to steal the film (giving “The Favourite,” appropriately, its own balance-of-power issues).
  22. No previous screen rendering of the Rudyard Kipling classic — not the 2016 Disney live-action epic and certainly not the jaunty, tuneful 1967 Disney animated version beloved by generations — has been so very dark and wild and, surprisingly, thoughtful.
  23. In a digital fantasy world where culture has been abandoned in favor of commerce, talent is the cheapest commodity.
  24. Jason Reitman’s The Front Runner is so crowded with characters and overlapping conversations and crammed-full rooms that it’s easy to miss the quiet at its center: the enigma that is Gary Hart.
  25. The likable tale of a real-life friendship, Green Book lets us spend two hours in the company of two electric actors.
  26. The dour environment doesn’t help, the humor doesn’t pop and, disappointingly, the scares just don’t land. There are a few jumps and bumps, but there’s no real sense of dread or unease or questioning.
  27. A conventional but thoroughly entertaining film.
  28. When it’s good, Ralph Breaks the Internet is very, very good. When it’s not, it’s annoying, cloying and LOUD!
  29. “Turn off your brain, and let your heart do da talking,” advised Rocky, and he was right. This franchise just might go on forever, and my heart kind of hopes that it does.
  30. The pace of Instant Family can be relentless. But with the supporting cast and a whole lot of genuine authenticity, Anders hits that sweet spot of hilarious and heartwarming, where the sweetness and tears are well-deserved, and earned.

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