Orlando Sentinel's Scores

  • Movies
  • TV
For 440 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 The Guard
Lowest review score: 12 Creature
Score distribution:
440 movie reviews
  1. 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.
  2. "It was a perfect tabloid story," the Brit Peter Tory, who covered it, remembers. "Kinky sex, religion, kidnapping, a beauty queen."
  3. Senna himself gives it its heart. I just wish I'd gotten a better handle on who he was before the film's checkered flag falls.
  4. Whatever the grownups say, Manyaka's Chanda is the one person in this village who understands how simple things really are, that it really does come down to Life, Above All.
  5. One serious omission in the film - identifying what these seemingly prosperous alumni of the band do for a living and did with their lives.
  6. Odds are you'll find something of substance, a few life lessons in between the laughs in 50/50.
  7. It's a plucky film that covers a lot of ground and uncovers this wonderful, ancient ritual that people of many faiths and from all walks of life take on.
  8. Restless is far more precious than profound. But that takes little away from this soulful teenage exploration of love, life and death.
  9. The leads are charmingly mismatched, but adorable enough to root for, as a couple. Forestier is a wildly uninhibited actress, sexy as all get out. She makes this girl dangerous, seemingly capable of anything.
  10. A first-rate one-woman-against-the-system drama.
  11. This compelling-acted film explains, better than any soundbite, why people have taken to the streets, "occupying" centers of finance. If their rage is unfocused, Margin Call suggests, that's with good reason. There are no real heroes or villains here, just human beings with human failings making BIG human mistakes.
  12. Even lacking the laughs and romance, he (Emmerich) has delivered an entertaining eye-roller of alternative history.
  13. 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.
  14. Yelchin doesn't generate the same warmth or passion that Jones does. That is partly by design, as this whole affair was her idea, after all.
  15. A stunning exercise in 3D and a delightful celebration of Scorsese's lifelong love of the movies, something he, like Hugo, developed on childhood.
  16. The musical comedy whimsically and often cleverly revisits the characters, their shtick and and the TV show and movies that made them most famous.
  17. The Descendants lets Payne show us the Other America and the Other Americans - little lives caught up in small but epic problems far away from the La La Land of Hollywood hype, sex and violence.
  18. In a genre - the animated holiday film - already overflowing with the sentimental, the silly Arthur Christmas is a most welcome treat to find stuffed into the cinema's stockings this holiday season.
  19. Branagh and Williams are worth the price of admission, the former "wunderkind" of British stage and screen having a go at the pretentious, plummy Olivier.
  20. Rarely has a movie been so sexual without being remotely sexy. Rarely has a guy who might be admired in a sex comedy as a "playa" seemed more pathetic with each fresh conquest.
  21. A daft pitch-black dark comedy about family dysfunction that plays out over painfully ugly family Christmas celebration.
    • 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
  22. The film doesn't go deeply enough into Hawking's theories to really explain them, and it doesn't go deeply enough into Hawking's life to impart anything but a sketchy understanding of the man. Still, considering the almost impenetrable subject matter, it's remarkable that Morris has gotten as far as he has.
  23. One triumph of The Untouchables is the way its operatic style accommodates larger-than-life performances.
  24. To answer the second-most pressing question first, the new movie is not as exhilarating as the original. To answer the most pressing question second, the new film is a lot of fun anyway. [22 Nov 1989, p.E1]
    • Orlando Sentinel
  25. Kika is flamboyant and provocative. But the new film, which was partly inspired by the rape trial of William Kennedy Smith, is ultimately quite serious.
  26. It’s not bad, but as Scorsese, America’s greatest living filmmaker and film history buff should know, even Hitchcock came up short on occasion.
  27. Though properly chilling when it’s supposed to be, it’s a film whose effects, script and performances keep it at arm’s length when it is supposed to be moving.
  28. It’s filmic fool’s gold, as every scene that doesn’t sparkle is just dirt -- dank, gritty visuals, murky plotting and very bad line-readings from Troyer (Mini-Me from the Austin Powers movies).
  29. The matter-of-fact way everybody involved faces this supernatural horror drains most of the chills right out of it.

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