Orlando Sentinel's Scores

  • Movies
  • TV
For 568 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Hoop Dreams
Lowest review score: 10 Caddyshack II
Score distribution:
568 movie reviews
  1. The Guard soars along on a script, like those by the other McDonagh (Martin wrote and directed "In Bruges" and the Oscar winning short "Six Shooter," both starring Gleeson) built out of verbal flourishes and Irish curses.
  2. The performances, direction and writing of one of the best pictures of 2010 make this Social Network every bit as addictive, and a little chilling as well.
  3. This unblinking look at America's Red State Crystal Meth Belt is an instant Southern Gothic classic.
  4. Duvall, an American Lear not going gently into that good night, reminds us that it will be a sad day indeed for movie fans when it's about time for him to Get Low.
  5. Although the filmmakers are subtle in their methods and unobtrusive in their interviewing style, they make their points forcefully.
  6. That rare film in which every performer in it leaves the viewer in awe.
  7. Artful, epic, operatic even, this thriller set in the world of ballet challenges the viewer with its intelligence and depth and wit.
  8. J.J. Abrams, with Steven Spielberg producing, has made one of those jaw-dropping out-of-body summer entertainments that kids old enough to swear and see PG-13 films will remember on into adulthood.
  9. A thriller that grabs you even before the ironies of its plot kick in is a thriller you don't want to miss. No Way Out is that sort of movie, a thriller that's thrilling throughout.
  10. Engrossing and moving story of a alternately warm and combative relationship.
  11. Ran
    Quite simply, Ran is a great, nightmarish motion picture.
  12. Longer, more thorough and tweaked to play to modern audiences better, Apocalypse Now Redux packs every bit the wallop it did when it was new. After Gallipoli and Full Metal Jacket, after even Platoon, it remains the definitive anti-war war movie.
  13. You buy the movie's premise because director Fred Schepisi evokes such a rich spirit of playfulness and romance that you want to buy it. [26 Dec 1994, p.D1]
    • Orlando Sentinel
  14. Shelton's approach in Cobb is stunningly successful and also very funny, in a jolting, in-your-face sort of way. Instead of taking the usual sports-biopic tack of glorifying his subject, he digs deep into the dirt of the athlete's life and somehow comes up with a weird sort of anti-glory glory.
  15. The boldest of Burton's creatures is bogyman Oogie Boogie (Ken Page), a burlap sack of vermin who terrorizes Santa (Ed Ivory). His big boogie-woogie number - a day-glo dance of death called ''Oogie Boogie's Song'' - is so horrifyingly grand that it threatens to steal the show from even the cleverly phantasmagorial ''This Is Halloween'' and the darkly bright (yes, I know that sounds impossible) ''What's This?,'' which pop up early in the film.
  16. This is a story about people, not politics. And perhaps because we can see the actors in closeup on the screen, that is even truer of the movie than the play. When you leave this film, you're not thinking, "My, what an important story!" When Driving Miss Daisy is over, you think, "I sure will miss those folks." [12 Jan. 1990, p.12]
    • Orlando Sentinel
  17. Director Carl Franklin takes a simple premise and treats it so straightforwardly that the result is jarring - at times, even powerful.
  18. Paul Newman could win an Oscar for his strong, complex performance in The Color of Money. His Eddie Felson, so quick-witted and seemingly imperturbable in the early scenes, eventually drops his foxy pose to reveal some of the raw vulnerability of his Hustler days.
  19. It's a story about storytelling, with differing versions of events in which people die by the sword. Filled with Yimou's characteristic symbolism and zest for striking colors, it's a fictional account of the unification of China.
  20. It's a measure of Leigh's sensitivity that the big scene arises naturally, never threatening the delicate fabric of the narrative... And not only has Leigh grown as a storyteller, he appears to have acquired exactly the right amount of filmmaking technique to tell his story.
  21. Visually imaginative, thematically instructive and thoroughly delightful, it takes us on a roller-coaster ride from innocence to experience without even a hint of that typical kiddie-flick sentimentality.
  22. As good as the supporting players are, Cadillac Man is Robin Williams' show. He gives the production its pace, its zest and its heart. Without him, this movie is unimaginable. With him, it's consistently entertaining. Williams knows what every successful salesman knows: Sell yourself, and you'll sell the product. [18 May 1990, p.20]
    • Orlando Sentinel
  23. Frankie & Johnny is no big deal, but it has plenty of laughs and it's appealingly romantic. The movie is a collection of small, trivial things that add up to something that is, while not important, at least entertaining. [11 Oct 1991, p.22]
    • Orlando Sentinel
  24. By the end of the film, there's even something vaguely inspirational about our antihero's painful journey through the bowels of his self-created hell.
  25. You may see a better movie this summer, but I doubt you'll see a funnier one. [7 June 1991, p.8]
    • Orlando Sentinel
    • 86 Metascore
    • 100 Critic Score
    This brilliant contraption of a film could become the hit of the summer. It's a cinematic Rube Goldberg machine whose parts connect in audacious, witty ways. [04 July 1985, p.E.1]
    • Orlando Sentinel
  26. A fast-paced thriller with a wicked bite and a sure sense of humor, it traps you in a web of suspense and makes you squeal with pleasure. [18 July 1990, p.E1]
    • Orlando Sentinel
  27. What's pleasantly surprising about Gilbert Grape is that director Lasse Hallstrom generally maneuvers quite deftly around his self-created obstacles. In its gently ironic, unforced way, his movie manages to be both uplifting and funny, with the laughs never really being at anyone's expense. [4 March 1994, p.17]
    • Orlando Sentinel
  28. The idea behind Ruthless People is just about irresistible. Much of the fun of this comedy is in watching what happens as virtually everyone in the movie tries to double-cross or otherwise take advantage of everyone else.
  29. This delicious, mystical Mexican drama keeps you in an almost constant state of stimulation. [11 June 1993, p.28]
    • Orlando Sentinel

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