The Seattle Times' Scores

  • Movies
For 847 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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Gladiator
Lowest review score: 12 Bad Santa 2
Score distribution:
847 movie reviews
  1. Is it as good as the book? No. Did it make me happy? Oh yes, and how nice to be reminded what a gift a joyful rom-com can be.
  2. It’s all good, goofy fun; make it an air-conditioned double feature with “Mamma Mia! Here We Go Again” and you might just have the very definition of “summer movies.”
  3. Chloë Grace Moretz’s revelatory performance is undoubtedly the highlight of The Miseducation of Cameron Post. Though Cameron is more comfortable nurturing a silence than speaking her mind, Moretz’ wry smile and weary eyes convey volumes of emotional turmoil.
  4. BlacKkKlansman manages that tricky balance of being both entertaining (some of the performances are quite comedic, particularly Paul Walker Hauser as a mouth-breathing Klansman) and devastating.
  5. Dog Days is in some ways a very strange movie, in the way it straddles the worlds of weirdo comedy and family-friendly fare. But ultimately, it’s the pooches who steal the show.
  6. As sweet as honey but without the stickiness, Christopher Robin is a gentle delight — for children, and for former children.
  7. Thanks to McKinnon, “Spy” is a fun summer picture that is truly, weirdly special.
  8. It’s an absorbing character study of a most intriguing man.
  9. Both inviting and confrontational, Blindspotting shakes viewers in their seats and announces Diggs as a star-in-the-making leading man.
  10. Mission: Impossible — Fallout is definitely everything we expected, and more. You might need to go lie down afterward, in a good way.
  11. Mamma Mia! Here We Go Again doesn’t pretend to be anything more than what it is: sweet, silly, sun-splashed absurdity, with a thumping disco beat. The world is a mess these days; some of us might just need this movie.
  12. There’s the old cliché that says, “so-and-so is such a great actor he could read the phone book (whatever that is; as I said, it’s an old cliché) and make it interesting.” That’s pretty much what Washington pulls off in EQ2.
  13. The film is over quickly, before I’d seen quite enough of Westwood’s fanciful clothing, or heard quite enough of her voice.
  14. Skyscraper, which lacks the lunkheaded charm of “Rampage,” isn’t the ideal vehicle — its special effects are murky (I saw it in 2D; it’s probably even muddier in 3D), and a bit of wit wouldn’t have been unwelcome. Nobody in this film has a personality; they’re just evil, stoic, mildly badass (particularly Neve Campbell, as Will’s resourceful wife) or The Rock.
  15. Burnham, in his debut film, makes some funny observations about growing up in the tech era.... But mostly, with glorious support from Fisher’s symphony of awkward poignancy, he makes all of us remember what it’s like to be 13.
  16. Directors Laura Collado and Jim Loomis’ cleverly edited and deliciously photographed food porn is a tasty peek at the cutthroat culinary world and one of its most mysterious figures.
  17. Dreamy and impressionistic, interspersed with fantastic bursts of animation, We the Animals plays like a gauzy, mesmerizing, half-remembered experience from childhood.
  18. It’s a daring premise, which makes Howard’s fluffy approach to the material all the more frustrating.
  19. Isabelle is complicated, in a way that movie women often aren’t; Binoche makes her an intriguing puzzle to solve.
  20. It’s hard to watch young Whitney, knowing what lies ahead, but it seems important to do as the film does: take a moment, and just listen to her sing.
  21. What begins as a light and fluffy, too-weird-to-be-fiction story goes unimaginably deeper, stranger, darker.
  22. It works fine as an outrageous comedy, but the perceptive commentary will likely give it staying power. This is the fearless satire that America desperately needs right now.
  23. There’s a lot going on here, which leads to a whole lot of gassy exposition to explain it all.... Think of it as torture by blah-blah.
  24. Dark fare indeed, and you won’t shake it off easily.
  25. Sollima’s style is cool and observational. There also are several stunts combined with camera movements that are genuinely jaw-dropping.
  26. Quiet and meticulously constructed, Leave No Trace offers a powerful, affecting look at people pushed to the fringes and hanging on by the slimmest of margins. Harrowing and enthralling in equal measures, it’s a challenging and rewarding experience.
  27. The Gospel According to André leaves you wishing you knew a little more about this complex, elegant gentleman and his lifelong love affair with style.
  28. There is advocacy. And then there is propaganda. The Trolley, with its overcooked rhetoric, falls into the latter category.
  29. Even the heavenly chorus that’s working overtime on the soundtrack can’t drown out the lack of chemistry between Howard and Pratt. And the movie too often defaults to people running around screaming — which is, to be fair, the backbone of this franchise, but it gets awfully old here.
  30. With a Morricone-inspired score, gorgeous cinematography that screams to be witnessed on a big screen, and bleak humor, this film’s tightly executed, meticulously controlled surface barely contains the seething fury within.

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