Laura Sinagra
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For 119 reviews, this critic has graded:
  • 21% higher than the average critic
  • 5% same as the average critic
  • 74% lower than the average critic
On average, this critic grades 11.8 points lower than other critics. (0-100 point scale)

Laura Sinagra's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 90 Tom Dowd & the Language of Music
Lowest review score: 10 Alex & Emma
Score distribution:
  1. Positive: 24 out of 119
  2. Negative: 26 out of 119
119 movie reviews
    • 52 Metascore
    • 60 Laura Sinagra
    Unfortunately, during the inevitable "what every woman wants" breakdown, Zellweger can't muster Doris Day's detached fume.
    • 48 Metascore
    • 60 Laura Sinagra
    In the central romantic push-pull, Elster and Harold achieve a rare, edgily hopeful chemistry amid emotional ruins.
    • 76 Metascore
    • 60 Laura Sinagra
    These flashes push Dig! beyond recording-industry kvetch, causing it to stay with you longer than either band's ephemeral music.
    • 59 Metascore
    • 60 Laura Sinagra
    In this study of keeping up appearances while everything falls apart, the stakes never seem as high as the title suggests.
    • 74 Metascore
    • 60 Laura Sinagra
    Theron's empathetic victim-wrath and elemental female outrage almost trump the otherwise cartoonish gender-bending and award-grubbing po' folk put-on.
    • 76 Metascore
    • 60 Laura Sinagra
    Blue Car gets so much of the hard stuff (including Meg's Plath-via-Tori poetry) that it assumes the easy stuff will take care of itself. It doesn't.
    • 55 Metascore
    • 60 Laura Sinagra
    Yes
    Potter's anachronistic rhyme schemes tumble forth with an out-damned-spot verve that rages against irrelevance.
    • 53 Metascore
    • 60 Laura Sinagra
    The real charm of this trifle is the deadpan comic face of its star, Jean Reno, who resembles Sly Stallone in a hot sake half-sleep.
    • 66 Metascore
    • 60 Laura Sinagra
    Most importantly, the environment feels real: the accents, the snaps, the working moms and warehouse crack nooks, every dilapidated stairwell, every bodega and lovingly appointed teenage bedroom sanctuary.
    • 55 Metascore
    • 60 Laura Sinagra
    When ditching the mawk to follow his daredevil muse, the director delivers stunning shots of cliff dancing and stunt pilotry.
    • 65 Metascore
    • 60 Laura Sinagra
    The filmmaker achieves the desired sense of remoteness and claustrophobic doom, and though the story could be told more economically, her slow approach conveys the distended chronology that attends an indentured servitude resembling slavery.
    • 64 Metascore
    • 60 Laura Sinagra
    Northfork's overall ponderousness prevents it from becoming a transcendent fictive poem on the violent domestication of the West.
    • 58 Metascore
    • 60 Laura Sinagra
    Holder and Parker tread lightly on issues of sexism, and sex in general, and leave us wishing more questions were asked.
    • 65 Metascore
    • 60 Laura Sinagra
    It's Filippo Pucillo who gives the youngest son such mellifluous southern sass that you wish the camera would abandon the whole woman-as-sadness retread and scooter off in his direction.
    • 77 Metascore
    • 60 Laura Sinagra
    Doubles as a narrative of the nascent women's movement.
    • 70 Metascore
    • 60 Laura Sinagra
    Miller's women share the affliction of scars left by dominating fathers. But the stories lean toward self-importance, and used verbatim in heavy voice-over, they register as a parody of spareness. Posey is the only one who has fun puncturing the solemnity, turning the real surreal in a softer version of her usual attack.
    • 68 Metascore
    • 50 Laura Sinagra
    This "Last Waltz"–like doc is almost funereal, full of reverent banalities spliced between overly folksy takes on melancholic Leonard Cohen bombshells.
    • 45 Metascore
    • 50 Laura Sinagra
    With a premise this screwy, nobody has any choice but to follow the savvy lead of Bebe Neuwirth, who, as Hudson's "Composure" editor, hams her queen-bitch-mother-hen role to glazed perfection.
    • 40 Metascore
    • 50 Laura Sinagra
    Clive Owen proves he can just about save anything.
    • 58 Metascore
    • 50 Laura Sinagra
    The opposition of Christian spirituality and the bad religion of drugs is enough to send you down to the feel-good bodega just on principle.
    • 50 Metascore
    • 50 Laura Sinagra
    Never really finds a fresh groove.
    • 38 Metascore
    • 50 Laura Sinagra
    Our counselors' lawyer-ese is illegally bland, and their committee-penned banter meticulously Botoxed.
    • 54 Metascore
    • 50 Laura Sinagra
    An odd blend of passionate performance footage and maddeningly shallow analysis of Cuba's music and politics.
    • 45 Metascore
    • 50 Laura Sinagra
    Where the earlier flick (Garden State), in its smallness, felt like an honest representation of writer-director-star Zach Braff's struggles with notions of home, Crowe's is a hodgepodge of great ideas and moods in search of a plot to enrich.
    • 49 Metascore
    • 50 Laura Sinagra
    Not only is there not enough panting to bunch any panties, this polite romp could use more of that other L-word: laughs.
    • 45 Metascore
    • 50 Laura Sinagra
    Kuryla has her prole banter down, and moments like McKenzie's desperate dance on her jalopy hood when Turturro locks her out move beyond literary sting into kinetic and sympathetic gutter picaresque.
    • 49 Metascore
    • 50 Laura Sinagra
    Echoes the trajectory of the post-Communist-bloc region itself, unmoored and at the mercy of pitiless capitalist forces.
    • 46 Metascore
    • 50 Laura Sinagra
    Moore's lip-glossed petulance never catches fire with Goode's canned drollery.
    • 80 Metascore
    • 50 Laura Sinagra
    In yet another roundelay that, like "Crash" and "Heights," follows the "Short Cuts" template of cosmic interconnection.
    • 59 Metascore
    • 50 Laura Sinagra
    Bow Wow isn't bad. But he and the dudes who fill out X's crew never quite nail the desired What's Happening!! vibe.

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