Orlando Sentinel's Scores

  • Movies
  • TV
For 473 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Black Swan
Lowest review score: 12 Creature
Score distribution:
473 movie reviews
  1. Too cute, too star-studded and entirely too long.
  2. Truth be told, J. Edgar drags, even when it pays homage to the widely discredited urban legend that the guy liked to dress in drag.
  3. An unsatisfying if often surprising experience, a less warm and fuzzy "Parenthood."
  4. The laughs - Doug tries to take up the pipe, a la Sherlock Holmes - are on the flat side.
  5. Extraordinary Measures isn’t extraordinary. It’s simply safe.
  6. Kilmer makes a worthy, if somewhat underscripted villain. And some of the bits -- MacGruber idiotically setting traps that the bad guys never fall for -- tickle. But this still feels instantly dated, a "Hot Rod in a Role Models" era.
  7. Basically a bloody buddy picture that tries too hard.
  8. All these years after Predator, these decades past the classic film, "Most Dangerous Game," that inspired this genre, it’s good to see the idea of the hunter becoming the hunted still gets the blood racing.
  9. It's a solid, engrossing thriller, but a slack one.
  10. Precious, protracted and pleasant enough.
  11. An odd duck of a thriller. Quiet, talkative, with the occasional explosion of violence, it has ghosts and characters philosophizing, quoting F. Scott Fitzgerald or blurting insensitive non-sequiturs.
  12. Lacks surprises.
  13. Fitfully amusing or not, the whole demented enterprise of Rango comes into question when you're that tone-deaf about what's appropriate for children.
  14. The Expendables feels, well -- disposable, a movie whose nostalgia isn't enough to make this 50. caliber trip down Memory Lane worth the fake napalm.
  15. But as useful as it is to chew on ideas that don't hew to climate change dogma, Cool It leaves big questions about Lomborg unanswered.
  16. The "Made of Honor" screenwriters don't deliver enough jokes or feisty exchanges between the ill-matched traveling companions.
  17. Bad Teacher is a pulled punch, a pot-smoking/kid cussing/teacher copulating farce that is less than the sum of its parts.
  18. The script piles the preposterous on top of the absurd and the film's thin charms dissipate, revealing the creaking movie star contraption underneath.
  19. The performers are given stock types to play, and Elba and Dillon, at least, can do a little with that.
  20. While we may ogle Tamara, blush at her charms and revel in her world, in the end Tarama Drewe is just a bit of Brit tease that doesn't come off.
  21. A big-screen version of a routine cop show that occasionally gets by on momentum from the original movie.
  22. Once you get past the cliched Spanglish dialogue and the sentimental tone of the early acts, A Better Life settles down into something both involving and moving.
  23. The trouble with The Change-Up is that it doesn't change-up enough of the formula to render this new.
  24. Take away much of the myth, most of the sorcery and all of the humor of the 1982 John Milius-Arnold Schwarzenegger version of the sword and sorcery epic "Conan the Barbarian" and you've got an idea what the new "Conan" is like.
  25. Brolin is so damned good in the saddle, in the hat and in the part that a half-sober viewer could half forget how half-arsed this movie he's starring in is.
  26. Whatever its virtues, Eli is a movie that can’t help but suffer in comparison to the much-delayed and much better "Road."
  27. For what it is and for whom it is intended, it’s not a bad movie, just an indifferent one.
  28. It has humor and a touch of charm, but plainly needed more love, more passion, more Shakespeare.
  29. Although the film is watchable and, at times, even borderline entertaining, it has its share of problems. Mainly, the filmmakers seem to have had trouble deciding just what kind of movie they were making. [22 May 1996, p.E1]
    • Orlando Sentinel
  30. O’Loughlin is the very definition of comic dead weight. Imagine making Greg Kinnear carry half of "Baby Mama," or sending Tina Fey out with Matthew Fox on "Date Night" and you’ll get the picture.

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