Orlando Sentinel's Scores

  • Movies
  • TV
For 466 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 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Driving Miss Daisy
Lowest review score: 12 Creature
Score distribution:
466 movie reviews
  1. Glibly put, this challenging time-skipping rumination is the big screen equivalent of watching that "Tree" grow.
  2. Whatever small pleasure there is to be found in this loud dud is due mostly to the residual good feelings from the first film.
  3. Somewhere is a triumph of tedium, banality passing for depth, a vacuous embrace of nothing.
  4. "Evil" fails to triumph. Utterly.
  5. This isn't satire, it isn't that funny and the only bits that work are the titillating ones.
  6. The charm has aged right out of this silly stoner franchise.
  7. It's a fairly intriguing (and, surprisingly non-exploitative) premise, but director/co-writer Ernest R. Dickerson is lost when it comes to devising situations that would suggest what goes on inside his characters' heads. These people are all exactly what they appear to be on the surface, which isn't very involving. [17 Jan 1992, p.20]
    • Orlando Sentinel
  8. Director Zack Snyder choreographs this like a video game, emphasizing the body count over character.
  9. Daybreakers is a stylish but unavoidably silly sci-fi vampire thriller.
  10. Those Jackasses from "Jackass" aren't getting better, they're getting older.
  11. This Herefter, despite the odd engaging moment, is a terrible letdown, like investing in a belief system and discovering there's no "here" that you've been after all your life.
  12. Hobo hits the screen as a grim, visually ugly, intermittently funny-occasionally preachy piece with only the estimable Mr. Hauer to recommend it.
  13. It's not as scary as it needs to be or as clever as it thinks it is, but the new 3D version of "Piranha" is at least as gimmicky as those fabled 3D films of yore. With all the pointless 3D cartoons and joyless 3D ""Clash of the Titans" conversions, at last here's a picture that tosses its cookies, its coffee cups and its D-cups right in your lap.
  14. It's a fitfully amusing, not remotely scary slasher picture.
  15. A mirthless, joyless comedy with nary a hint of romance, mystery or justification for its existence.
  16. The problem is that producer-turned-director Irwin Winkler (Night and the City, Guilty by Suspicion) simply has no idea what he's doing. I take that back. He knows what a producer ought to know: how to latch onto a hot topic and a hot star. Winkler also appears to have picked up enough from the directors he has worked with to give his film a certain second-hand slickness.
  17. It's light in tone, feather-weight. But there aren't many laughs in it.
  18. This isn't the worst of the bunch, not by far. But my premonition is this won't be the finale this series has screamed out for these past few years. This decapitation train never seems to reach its destination.
  19. The polished production sometimes touches and amuses despite its naïve “love conquers all” script.
  20. It's an infuriatingly static picture - actors walking around when they should be running, ruminating when they should be panicking, generally failing to convey fear and pick up the pace.
  21. It's a modestly effective but jaw-droppingly violent picture.
  22. It's all tiresome, muddied and artlessly made.
  23. The film manages one grand "300″ moment, Cavill rallying troops for battle, doing his best Gerard Butler. But the lack of humor, the confusing, stumbling story and limited color palette blunt the film's 3D slo-mo shots of heads exploding and torsos torn asunder by the sword.
  24. A generally joyless pastiche of sorcery history, imitation Potter "chosen one" Messianics and mirthless silliness, it's another in a string of recent black marks against Cage's Oscar-owning reputation.
  25. "English Reborn" isn't terrible and is certainly seriously harmless.
  26. An exploitation picture built on redneck cliches and big city liberal outrage, it's not all bad. But it is a pretty unpleasant wallow in the obvious.
  27. As straight exploitation, it's amusing, in fits and starts. It's just that Colombiana lacks the kinetic energy of "The Transporter" and the pathos of "La Femme Nikita."
  28. At long last, The Twilight Saga sinks utterly into camp with Breaking Dawn: Part 1.
  29. It's the same movie as the earlier "gotta dance" over-choreographed crunk-and-breakdance epics. Exactly the same.
  30. A rude and seriously crude riff on taking a vacation from marriage.

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