Orlando Sentinel's Scores

  • Movies
  • TV
For 446 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Hoop Dreams
Lowest review score: 12 Creature
Score distribution:
446 movie reviews
  1. The script piles the preposterous on top of the absurd and the film's thin charms dissipate, revealing the creaking movie star contraption underneath.
  2. The performers are given stock types to play, and Elba and Dillon, at least, can do a little with that.
  3. 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.
  4. A big-screen version of a routine cop show that occasionally gets by on momentum from the original movie.
  5. 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.
  6. The trouble with The Change-Up is that it doesn't change-up enough of the formula to render this new.
  7. 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.
  8. 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.
  9. Whatever its virtues, Eli is a movie that can’t help but suffer in comparison to the much-delayed and much better "Road."
  10. For what it is and for whom it is intended, it’s not a bad movie, just an indifferent one.
  11. It has humor and a touch of charm, but plainly needed more love, more passion, more Shakespeare.
  12. 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
  13. 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.
  14. Devil is the sort of story Rod Serling would have taken for a spin in "The Twilight Zone," back in the day. Shyamalan came up with the idea, produced it and got others to script and direct this 76 minute exercise in movie minimalism.
  15. She (Parker) looks exhausted, first scene to last, and that fatigue spills off the screen onto us.
  16. This episodic romance works in fits and starts, and captures a bittersweet faux British turn by Anne Hathaway, plainly mismatched in being paired with real-life Brit Jim Sturgess.
  17. 3D or not, the film about the mop-topped Canadian - who turns 17 March 1 - doesn't let us get very close to "the talent."
  18. An awkward blend of ultra-realistic violence, boundaries-bending satire and low comedy.
  19. It begins with such promise, a kinky modernist twist on a classical sci-fi morality tale. That it degenerates into conventional, genre horror is all the more disappointing.
  20. A confident, cocky and often comic promenade down the same primrose path.
  21. Abduction puts Lautner in motion and never goes very far wrong as long as he remains in motion.
  22. There are a few sensitive scenes, but it’s the big blasts of raunchy that deliver its laughs.
  23. The slapstick is very small-kid friendly and even the most adult-friendly jokes are pretty mild stuff.
  24. The movie never convinces us that Forster is convinced himself. The director lines up this bad good man in his sights, but he never quite has the nerve quite to pull the trigger.
  25. Whatever romance and charm Gruen summoned forth from these rough and tumble show people living by their own laws in a traveling, self-contained world of poverty and cruelty, director Francis Lawrence has hacked and ground them off.
  26. It just takes a very long time to get going. Apparently seventh grade doesn't pack as much potential for amusing, scarred-for-life trauma as sixth grade.
  27. Manages to deliver a striking, nicely detailed, visceral thriller built on a corny, old-fashioned script.
  28. It's a movie of thematic dead-ends. Director Azazel Jacobs and writer Patrick DeWitt give us a slow SLOW and somewhat morose tale that isn't remotely funny or profound enough to sustain that pace and tone.
  29. Take "Kick-Ass." Strip it of most of its wit and charm, amp up the violence, the sadism. Make it more crude and coarse and gory. And what you're left with is Super.
  30. Its grisly violence and ridicule-religion tone make it sort of the anti-"Exorcism of Emily Rose."

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