Orlando Sentinel's Scores

  • Movies
  • TV
For 449 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 Life Is Sweet
Lowest review score: 12 Creature
Score distribution:
449 movie reviews
  1. Almost every shot is a postcard-perfect African vista, and every animal shown in majestic close-up.
  2. The magic in the film is in the actors. Only somebody who has stripped himself emotionally bare for the camera could achieve the level of performance that Goldwyn gets from every single SAG member on this set.
  3. But as useful as it is to chew on ideas that don't hew to climate change dogma, Cool It leaves big questions about Lomborg unanswered.
  4. The charm has aged right out of this silly stoner franchise.
  5. A well-acted tale of an underdog's triumph that sorely lacks an underdog, it teeters between pleasantly generic film biography and rank manipulation.
  6. At two hours and 15 minutes, the new Karate Kid takes an absurd amount of time to get to that “big match.”
  7. This mismatched "couple" - have made, over the course of three long subtitled Swedish thrillers, the most dynamic duo of recent cinema history.
  8. 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."
  9. This "Inception" meets "Made in Heaven" by way of "They Live" is also the screwiest movie Matt Damon has been in since, what, "Dogma?"
  10. 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.
  11. 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.
  12. 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.
  13. This is the sort of breathless joyride that we expect - but don't often get - from a summer movie. [24 May 2000, p.E1]
    • Orlando Sentinel
  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. 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.
  16. 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.
  17. 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
  18. 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.
  19. 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
  20. 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.
  21. 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.
  22. A first-rate one-woman-against-the-system drama.
  23. 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.
  24. Brewer gave the film a little Southern hip hop, and brought in real Southerners Quaid, Andie MacDowell and Ray McKinnon to further Southernize it.
  25. 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.
  26. The Twilight Saga comes close to that sweet spot between swooning silliness and special effects slaughter with Eclipse.
  27. For an hour or so, Bigelow (Near Dark, Blue Steel) gets by on that great eye of hers. But about halfway, Point Break breaks down. The plot, which has been unimpressive but not irritating, becomes maddeningly implausible. And the performances, which had been generally engaging, lose their edge.
  28. 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.
  29. 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.
  30. Daybreakers is a stylish but unavoidably silly sci-fi vampire thriller.

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