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 12.3 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
    • 50 Metascore
    • 50 Laura Sinagra
    Never really finds a fresh groove.
    • tbd Metascore
    • 50 Laura Sinagra
    Melodramatic Filipino coming-of-ager concerns the budding sexuality of a young girl in a devoutly Catholic culture.
    • 56 Metascore
    • 50 Laura Sinagra
    Lots of Dowse's ideas work well--the ringing tinnitus, the conversion of sound to visible waves, the trimming of treble and bass for underwatery effect, the removal of ambient noise entirely. But as the humor flags, It's All Gone Pete Tong starts to feel more like an exercise.
    • 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.
    • 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.
    • 80 Metascore
    • 50 Laura Sinagra
    In yet another roundelay that, like "Crash" and "Heights," follows the "Short Cuts" template of cosmic interconnection.
    • 40 Metascore
    • 50 Laura Sinagra
    Clive Owen proves he can just about save anything.
    • 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.
    • 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.
    • 40 Metascore
    • 40 Laura Sinagra
    Russell Fine's kinetic camerawork outperforms the plot.
    • 58 Metascore
    • 40 Laura Sinagra
    Though agile edits keep things moving, in braiding several tales into one tight suburban tangle, character development takes more shortcuts than "Short Cuts."
    • 70 Metascore
    • 40 Laura Sinagra
    Catherine Hardwicke's directorial debut is less a damozel-in-distress fetish flick than a bird-flipping plunge into coded girl-cult communication.
    • 36 Metascore
    • 40 Laura Sinagra
    Party never gets rolling.
    • 42 Metascore
    • 40 Laura Sinagra
    If this adaptation of Chinese punk-lit writer Wang Shuo's fiction doesn't survive its Bronx trick-out, you can't really blame Brody, whose luminous autodidact seems caught between camp and coolsville.
    • 53 Metascore
    • 40 Laura Sinagra
    Despite frequent cuts to mambos and cha-chas, this insulated tale of rich interns swindling rich studio bosses has no “Clueless”-style SoCal breeze (or righteous “Working Girl” gotcha).
    • 46 Metascore
    • 40 Laura Sinagra
    As wrathful health inspector, possessed choir director, and general castrating angel, Union wrecks store with a slew of ass-chapping teardowns that would make Cam'ron curdle.
    • 45 Metascore
    • 40 Laura Sinagra
    The clunky yee-haw script full of tired bitch/angel oppositions and Witherspoon's school-play petulance cranks the twang to a blare.
    • 47 Metascore
    • 40 Laura Sinagra
    As usual, Figgis coaxes moon-shooting performances, but all the furious improv lacks any sort of map.
    • 66 Metascore
    • 40 Laura Sinagra
    A resolution gifting world-surveillance software to the cops, plus slo-mo action over the oft reprised "Close to You," stretch past bullet time into nap time.
    • 48 Metascore
    • 40 Laura Sinagra
    Unfortunately, despite pretty-on-the-inside performances from the four kickass Clamdaddies, too many extra shake-ups end up crowding out the characters, and distract from the easy camaraderie and slice-of-life intimacy that lures us into their van to begin with.
    • 64 Metascore
    • 40 Laura Sinagra
    Perhaps if Sister Helen had been released when filming was completed in 2000, its tough-loving Irish nun, who gives hell to male drug addicts in a Mott Haven "safe house," might have passed for endearing.
    • 48 Metascore
    • 40 Laura Sinagra
    Mostly, its unearned funnier-than-thou smugness plays like a DIY dorm-lounge homage.
    • 44 Metascore
    • 40 Laura Sinagra
    While the camera unsuccessfully courts Southern gothic humor, caressing a hodgepodge of retro-fetish knickknacks, the actors' knowing glances seem to look beyond the confines not only of the town, but of the film itself.
    • 62 Metascore
    • 40 Laura Sinagra
    Kind of a bore.
    • 53 Metascore
    • 40 Laura Sinagra
    It's too bad that Allouache's insurgent Islamists, into whose clutches Yasmine falls for a time, come off like Indiana Jones villains.
    • 47 Metascore
    • 40 Laura Sinagra
    Planned inanity never gets mad mad mad mad enough.
    • 36 Metascore
    • 40 Laura Sinagra
    Rote melodrama.
    • 34 Metascore
    • 40 Laura Sinagra
    Bullock manages medium charm, but you gotta feel for King, forced to play dat-bitch-crazy butch to Bullock's untrammeled femme.
    • 35 Metascore
    • 40 Laura Sinagra
    Hobbles a likable cast with dialogue flatter than Bollywood's cheesiest.
    • 68 Metascore
    • 40 Laura Sinagra
    There's something wrong with Hustle. A bad aftertaste, and not just the dry grit of Memphis dust, but something meaner. A feeling that Brewer's sensibility is way off. Aside from Howard's characterization, the most indelible parts of the movie are the demeaning caricatures forced on DJay's women.

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