Orlando Sentinel's Scores

  • Movies
  • TV
For 441 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 Super 8
Lowest review score: 12 Creature
Score distribution:
441 movie reviews
  1. The charm has aged right out of this silly stoner franchise.
  2. A well-acted tale of an underdog's triumph that sorely lacks an underdog, it teeters between pleasantly generic film biography and rank manipulation.
  3. At two hours and 15 minutes, the new Karate Kid takes an absurd amount of time to get to that “big match.”
  4. This mismatched "couple" - have made, over the course of three long subtitled Swedish thrillers, the most dynamic duo of recent cinema history.
  5. The unfailing sweetness of Paul Rudd's lead performance makes what could have been another raunchy and rude R-rated farce a bracing change of pace in a summer of aggressive comedies about aggressive people, from "Bad Teachers" to "Horrible Bosses."
  6. This "Inception" meets "Made in Heaven" by way of "They Live" is also the screwiest movie Matt Damon has been in since, what, "Dogma?"
  7. Like those '70s movies it borrows from, there's a blast of tongue-in-cheek politics built around a "They messed with the WRONG Mexican" message. No, this may not go over in Arizona.
  8. RED
    Red has enough acting flourishes and incidental action pleasures to make it an adrenalin-jacked giggle, if not exactly the romp one so fervently expects.
  9. An often moving and always disturbing film. Little is explained, motivations aren't explored. We miss them, at times. It's still a film of power, wit and thought-provoking ideas, one well worth seeing.
  10. 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.
  11. That makes Sarah's Key that rare Holocaust tale that punches through the cobwebs of history and its dry, inhuman statistics, and brings that terrible past to life.
  12. 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.
  13. The movie's biggest sin, however, is that during its crucial final half-hour, the action is shot in a confusing way that renders it virtually incomprehensible. This section is almost a series of random images, which is no way to build suspense, let me tell you. That this movie's director has previously specialized in music videos and that he has never before directed a feature film, may explain why this section is so very chaotic. [22 May 1992, p.19]
    • Orlando Sentinel
  14. Sweet and sunny (Lots of English language pop tunes) and laugh-out-loud silly and well worth seeing before Hollywood remakes it with somebody like Matthew McConaughey in the title role.
  15. This film based on Alan Glynn's novel "Dark Fields" is entirely too reliant on voice-over, a bit too tarted-up by Burger in an effort to make this head trip a visual experience.
  16. It's almost kitschy - the way Stone injects himself into a couple of scenes, an eccentric Eli Wallach cameo, the inclusion of a Charlie Sheen moment that flat out winks at the audience.
  17. A first-rate one-woman-against-the-system drama.
  18. This Paranormal doesn't tamper with the formula that worked in the first two films. It lacks the "money" moments that those films delivered and ends with a finale that is downright conventional. "Paranormal" reveals itself for what it has become, the "Saw" of found video thrillers.
  19. Brewer gave the film a little Southern hip hop, and brought in real Southerners Quaid, Andie MacDowell and Ray McKinnon to further Southernize it.
  20. Forever After still goes down like warmed-over porridge. You don’t have to be Goldilocks to think that this time they’ve cooked their Golden Goose.
  21. The Twilight Saga comes close to that sweet spot between swooning silliness and special effects slaughter with Eclipse.
  22. There's a taste of Southern Gothic here, even though this story is set in Michigan. The incendiary mix of religion, sex and crime threatens to ignite every time Stone tries to turn the interogations back on Mabry.
  23. It's not the smoothest thriller. But All Good Things is thoroughly engrossing, a roman a clef that chillingly ponders a puzzle and suggests solutions outlandish enough to be stranger than anything Hollywood, on its own, could make up.
  24. Daybreakers is a stylish but unavoidably silly sci-fi vampire thriller.
  25. There's only so much humor you can wring from the f-bomb, even if you are a cute animated alien.
  26. 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.
  27. A production that's strong on atmosphere but weak in the plot department. Watching this often-tedious film, you begin to feel as if you've been kidnapped - which is appropriate, anyway, since the story concerns an abduction.
  28. 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.
  29. They turn more of the story over to the comic relief, the dopey tow truck Tow Mater, and get a sillier, more kid-friendly movie out of it. Yes, Cars 2 is better than "Cars."
  30. A barely serviceable romantic comedy.

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