Orlando Sentinel's Scores

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For 901 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% 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: 63
Highest review score: 100 Driving Miss Daisy
Lowest review score: 0 Revenge
Score distribution:
  1. Positive: 519 out of 901
  2. Mixed: 225 out of 901
  3. Negative: 157 out of 901
901 movie reviews
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  1. Splice
    It begins with such promise, a kinky modernist twist on a classical sci-fi morality tale. That it degenerates into conventional, genre horror is all the more disappointing.
  2. Paranormal Activity 2
    A confident, cocky and often comic promenade down the same primrose path.
    • 81 Metascore
    • 50 Critic Score
    Chocolat
    First-time director Claire Denis (a Frenchwoman who lived in Africa as a child) wants us to know that colonialism is a bad thing. Would anyone care to argue the point? Like German director Wim Wenders (with whom she worked on Wings of Desire), Denis achieves some ravishing images but is committed to using a deadeningly static camera. [30 Mar 1990, p.16]
    • Orlando Sentinel
  4. Abduction
    Abduction puts Lautner in motion and never goes very far wrong as long as he remains in motion.
  5. Licence to Kill
    Like "The Living Daylights", Licence to Kill definitely has its moments. But also like "The Living Daylights", the new, two-hour-plus picture goes on too long and is encumbered by a needlessly complicated plot.
  6. She's Out of My League
    There are a few sensitive scenes, but it’s the big blasts of raunchy that deliver its laughs.
  7. The Smurfs
    The slapstick is very small-kid friendly and even the most adult-friendly jokes are pretty mild stuff.
  8. Machine Gun Preacher
    The movie never convinces us that Forster is convinced himself. The director lines up this bad good man in his sights, but he never quite has the nerve quite to pull the trigger.
  9. Water for Elephants
    Whatever romance and charm Gruen summoned forth from these rough and tumble show people living by their own laws in a traveling, self-contained world of poverty and cruelty, director Francis Lawrence has hacked and ground them off.
  10. Made in America
    Director Richard Benjamin and screenwriter Holly Goldberg Sloan use a single comic device throughout the entire movie. In scene after scene, two things are made to happen simultaneously with supposedly hilarious results. [11 Jun 1993, p.22]
    • Orlando Sentinel
  11. Diary of a Wimpy Kid 2: Rodrick Rules
    It just takes a very long time to get going. Apparently seventh grade doesn't pack as much potential for amusing, scarred-for-life trauma as sixth grade.
  12. The Eagle
    Manages to deliver a striking, nicely detailed, visceral thriller built on a corny, old-fashioned script.
  13. Terri
    It's a movie of thematic dead-ends. Director Azazel Jacobs and writer Patrick DeWitt give us a slow SLOW and somewhat morose tale that isn't remotely funny or profound enough to sustain that pace and tone.
  14. Super
    Take "Kick-Ass." Strip it of most of its wit and charm, amp up the violence, the sadism. Make it more crude and coarse and gory. And what you're left with is Super.
  15. Akira
    Otomo's movie, set in the usual sci-fi post-apocalyptic world, has all the narrative fascination of a Godzilla movie (not much). The filmmaker does have a vivid visual imagination, but this imagination has more to do with composition and color than with motion (i.e., animation). [01 Jun 1990, p.7]
    • Orlando Sentinel
  16. Exotica
    Egoyan makes you pay dearly by subjecting you to large doses of film-festival-strength ponderousness. [14 Apr 1995, p.19]
    • Orlando Sentinel
  17. The Last Exorcism
    Its grisly violence and ridicule-religion tone make it sort of the anti-"Exorcism of Emily Rose."
  18. Only the Lonely
    The problem isn't that the film is derivative, it's that the film fails at being derivative. In Only the Lonely, we get only the baloney. [28 May 1991, p.D1]
    • Orlando Sentinel
  19. The Hangover Part II
    Has a "been there, done that, jailed for it" feel.
  20. The Russia House
    The Russia House is one of the most gorgeous-looking movies currently in release and also, unfortunately, one of the dullest. If it were a travelogue, it would be great. But it isn't. [21 Dec 1990, p.9]
    • Orlando Sentinel
  21. Indian Summer
    The basic problem with Indian Summer: The movie sacrifices credibility in an attempt to get easy laughs. [23 Apr 1993]
    • Orlando Sentinel
  22. Home Alone 2: Lost in New York
    Even by kid standards, young Macaulay can't act. The boy just races through his dialogue, barely pausing long enough to be understood. And when the script requires him to actually show some emotion, he sounds completely mechanical - as if he were merely parroting a line reading that some adult had given him. [20 Nov 1992, p.16]
    • Orlando Sentinel
    • 36 Metascore
    • 50 Critic Score
    The Next Karate Kid
    The formulaic plot does not give the actors that much to work with. Swank, though, does a good job as Julie. [16 Sep 1994, p.2]
    • Orlando Sentinel
  24. Into the West
    Even if your expectations were not especially high, chances are that you would be disappointed by Into the West. [17 Sep 1993, p.21]
    • Orlando Sentinel
  25. Monsters
    The new creature feature Monsters is an intriguing mash-up of "District 9," "The Host" and assorted recent post-apocalypse road pictures.
  26. Zookeeper
    James takes his comic lumps like a man. His Griffin suffers injuries and indignities and lets us laugh at him as he does. No matter where the script wanders and where the direction founders, at some point, James' comic instincts take over. And this time, they don't let him down.
  27. Club Paradise
    Club Paradise isn't particularly offensive, but it isn't especially funny, either. And all that's holding it together is Williams' amiable performance and the music, most of which was written by Cliff, who also performs it.
  28. The Indian in the Cupboard
    Oz is a bit too impressed by the story's enchantment - too inclined to dwell on Omri's astonished gaze and too eager to fill the soundtrack with Randy Edelman's ain't-it-awesome? musical score. [14 July 1995, p.17]
    • Orlando Sentinel
  29. Jade
    The script, by Showgirls' Joe Eszterhas, seems dead-set on evoking a darkly sensuous mood, full, as it is, of sex games, secret sex tapes and even - Lord help us - a fertility mask. But William Friedkin (Blue Chips, The Exorcist) directs in such a stark, threatening style that the combined effect of their efforts is an uninvolving, faintly creepy brooding. [13 Oct 1995, p.25]
    • Orlando Sentinel
  30. Alien 3
    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
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