Orlando Sentinel's Scores

  • Movies
  • TV
For 443 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:
443 movie reviews
  1. There's a soap opera going on inside that tin can with a cannon.
  2. May not be as emotionally compelling as John Ford's work ("The Prisoner of Shark Island"), but it's every bit as meticulously crafted.
  3. Aniston's work opposite the screen's premiere mild-mannered funnyman shows her at her most engaged and pitch perfect.
  4. Sweet, sentimental, silly and star-studded, Nanny McPhee Returns is one of the best children's movies of the year.
  5. Inception is an elegant, portentous ride, though I’m not sure Nolan is any closer to visualizing the real (dream) deal than Hitchcock was.
  6. Souffle-light and long on charm.
  7. As spy thrillers go, more chilling than thrilling. But that's what makes it easy to relate to.
  8. A movie franchise can only take us by surprise once, and by that measure, Iron Man 2 is a preordained letdown. But so much of what gave the first film its gas — is still here.
    • 46 Metascore
    • 75 Critic Score
    If, finally, Kafka doesn't add up to enough, it at least demonstrates that Soderbergh has a visual facility to go along with the narrative talent he showed in "sex, lies, and videotape." [21 Feb. 1992, p.17]
    • Orlando Sentinel
  9. The fourth comic book movie of the summer is the best comic book movie of the summer. Johnston has delivered a light, clever and deftly balanced adventure picture with real lump in the throat nostalgia.
  10. They (Refn and Gosling) have collaborated on a car picture that unnerves us with its idling quiet, and then pins our ears back when they stomp the accelerator.
  11. Fright Night can also boast of having the best vampire-villain in ages. The bushy-browed Colin Farrell was BORN to wear fangs.
  12. "It was a perfect tabloid story," the Brit Peter Tory, who covered it, remembers. "Kinky sex, religion, kidnapping, a beauty queen."
  13. It's a little racy for our "High School Musical" set. But Bran Nue Dae (say it out loud) will play anywhere fans like a musical so cute you want to pinch its cheeks.
  14. A winning "Robin Hood and his Merry Doormen" comedy about getting even. A cast of comedy specialists each deliver their comic specialties to perfection, delivering double-takes and one liners so well that you don't notice how clunky the actual caper in this caper comedy is.
  15. Has a lot of that winking wit we've come to expect from our post-"Spider Man" Marvel movies. It has a hunky, self-mocking young star, solid support from a couple of Oscar winners and the slick sheen that state-of-the-art effects can give you.
  16. Farmiga directs and plays this as a woman with questions. Thus, the tone is a bit all over the place - frank discussion and depictions of sex, but with an equally frank embrace of Christianity, talking the talk and walking the walk.
  17. Perry's great gift to this unfilmable play is getting it on the screen, his sharp eye for casting and his evident affection and sympathy for black womanhood, even in movies in which he doesn't don a dress.
  18. The daft feather-light French farce Potiche is a period piece designed to remind us of just how far and how fast women have come in the Western world.
  19. The mercurial Brand is spot on as the mercurial Aldous, putting over outrageously titled tunes with panache.
  20. Greatest Movie isn't Spurlock's best. It plays like an overlong, overly cutesy TV news report (woman and man on street interviews included) on product placement.
  21. A first-rate one-woman-against-the-system drama.
  22. One triumph of The Untouchables is the way its operatic style accommodates larger-than-life performances.
  23. A brisk blast of bloody good fun, sci-fi with a little social commentary as subtext. Attack the Block is the movie that "Battle: Los Angeles" was not - thrilling, nerve-wracking and fun.
  24. The spookiest and most entertaining horror flick since "Paranormal Activity."
  25. It's a vivid, blunt and candid look at their kill-or-be-killed existence, which Joubert writes and Irons narrates is "the eternal dance of Africa."
  26. The Elephant in the Living Room is damning, but also very sad. These stories, as Harrison points out, never have a happy ending.
  27. Duncan Jones, director of the very fine and very paranoid "Moon," makes this seemingly silly situation work, building tension over 93 minutes.
  28. Less mopey and downbeat than TV star Zach Braff's "Garden State." But it succeeds in many of the same sweet ways and is similar enough to warrant labeling Radnor "Zach Braff: The Next Generation."
  29. Baumbach overreaches, making this character a selfish, off-putting cultural (LA) and generational scold. But Stiller, in his most “real” performance in ages, finds the function in this catalog of dysfunctions, the humanity in this humanity-hating crank.

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