Soren Andersen

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For 278 reviews, this critic has graded:
  • 55% higher than the average critic
  • 1% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 1 point lower than other critics. (0-100 point scale)

Soren Andersen's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Zootopia
Lowest review score: 12 Bad Santa 2
Score distribution:
  1. Negative: 60 out of 278
278 movie reviews
    • 47 Metascore
    • 75 Soren Andersen
    The essence of the London story is retained, with stouthearted Buck being annealed by adversity, overcoming brutality, confusion and loneliness and then responding to the kindness of Thornton to become the leader of the pack. And all that is accomplished with a soft touch. What we have here is the call of the mild
    • 47 Metascore
    • 63 Soren Andersen
    Sonic the Hedgehog is bright. It’s cheery. It’s here and then it’s gone in a relatively compact 100 minutes, leaving little beyond a slightly sweet aftertaste to mark its passage.
    • 51 Metascore
    • 75 Soren Andersen
    The dialogue, the violence, the humor (largely provided by Grant’s character) and the intricacy of the storytelling make for a picture in which most everyone in it seems to be having a great deal of chatty, bloody fun.
    • 26 Metascore
    • 75 Soren Andersen
    For a fun time to dispel the gloom of January, Dolittle is just what the doctor ordered.
    • 48 Metascore
    • 25 Soren Andersen
    The first creature feature of the new decade is here, and boy is it dumb.
    • 54 Metascore
    • 75 Soren Andersen
    On the whole, “Spies” is a very nice trifle turning up just in time for the holidays for families seeking a kinder, gentler alternative to “Star Wars.”
    • 53 Metascore
    • 100 Soren Andersen
    The Rise of Skywalker rates right up there with the 1977 original, “A New Hope,” and 1980’s “The Empire Strikes Back.”
    • 58 Metascore
    • 75 Soren Andersen
    It’s all undeniably silly, but satisfying in an overstuffed blockbuster sort of way.
    • 64 Metascore
    • 63 Soren Andersen
    Directed by Chris Buck and Jennifer Lee (the latter also wrote the screenplay, both directed the original), it’s gorgeous-looking. It’s briskly paced. And it’s tuneful. Uh, about those tunes: They’re blaringly, oppressively, crushingly LOUD! With “Frozen” we got the rousing Oscar-winning “Let It Go.” With Frozen II, someone should have told the songwriters to tone it down.
    • 47 Metascore
    • 88 Soren Andersen
    The effects work rivals the likes of “Saving Private Ryan” and, well, “Independence Day.” It’s spectacular and realistic-looking. That’s to be expected. What’s not expected is how serious-minded and well-acted the picture is.
    • 54 Metascore
    • 75 Soren Andersen
    Arnie, oddly, supplies a significant amount of humor here. His Terminator has developed a kinder, gentler side over the years, asserting “I’m a very good listener and I’m extremely funny.” Well, maybe not “extremely,” but yeah, he actually is.
    • 55 Metascore
    • 88 Soren Andersen
    Conversations about competing business strategies, which take up a great deal of The Current War, would seem to be a recipe for a dull movie. But the fervor and intelligence Cumberbatch and Shannon bring to their roles make for a gripping experience.
    • 55 Metascore
    • 75 Soren Andersen
    The gore quotient is high in this one (lots and lots of exploding heads) and the one-liners flow freely. Bloody good fun, but not for the whole family. That R rating is well-earned.
    • 46 Metascore
    • 63 Soren Andersen
    The Addams Family suffers from an acute case of the cutes.
    • 61 Metascore
    • 75 Soren Andersen
    The story is strong, the music is appealing. Abominable is delightful.
    • 58 Metascore
    • 50 Soren Andersen
    Rather than using the extended running time to dig deep into these characters, director Andy Muschietti, who also directed the original, piles on the frights in a manner that builds to an ending drenched in hysteria.
    • 45 Metascore
    • 50 Soren Andersen
    Angel Has Fallen plays out exactly as you would expect from a potboiler of this type. No surprises here, other than that it exists at all. It’s the kind of movie one expects to be released at the shank end of summer. Time to turn the page to fall.
    • 31 Metascore
    • 50 Soren Andersen
    Very, very late in ECCO’s two-plus hour running time, answers come. It’s a long wait for clarity. From the viewer, much patience is required.
    • 83 Metascore
    • 63 Soren Andersen
    The pacing of the picture is problematical. It’s curiously inert in the early going, with a lot of time spent in cars with the characters as they drive around and around on freeways, side streets and boulevards in Hollywood.
    • 55 Metascore
    • 88 Soren Andersen
    The new version amplifies and deepens all that is good in the original. The key is in the visuals. Photorealistic computer-generated imagery renders its African landscapes and animals with astonishing realism.
    • 72 Metascore
    • 63 Soren Andersen
    Horror is a fragile thing. Suspension of disbelief is key to its effectiveness. A sudden inappropriate guffaw from someone in the audience can be enough to break the spell. In Midsommar, the spell breaks at the end and the picture collapses.
    • 57 Metascore
    • 75 Soren Andersen
    The most interesting revelations come early as Wyman, in voice-over, describes his upbringing in a rough section of London.
    • 59 Metascore
    • 63 Soren Andersen
    All Is True is handsomely mounted, filled with shadowed interiors underscoring the darkness of its story, the darkness artfully interrupted by candlelight and firelight. The movie’s impressive appearance notwithstanding, Shakespeare’s domestic problems do not a classic make.
    • 83 Metascore
    • 100 Soren Andersen
    Though his character bears Fails’ name and the picture is autobiographical, it’s not a documentary. Fails and co-screenwriter Rob Richert have embroidered on his experiences to create a story that melds realism with make-believe.
    • 40 Metascore
    • 50 Soren Andersen
    What we have here is a standard-issue comedy-tinged crime thriller indifferently directed by Tim Story (the “Think Like a Man” and “Ride Along” movies). Its nothing-special plot, the product of writers Kenya Barris and Alex Barnow, features ill-defined villains and briefly touches on Islamophobia and military veteran PTSD and drug abuse — and never follows up on any of those issues.
    • 43 Metascore
    • 50 Soren Andersen
    Phoenix goes off the rails in the second half when Kinberg piles fight scene atop CG-enhanced fight scene, backed by Hans Zimmer’s oppressive pounding score, until the picture devolves into a chaotic mess.
    • 91 Metascore
    • 75 Soren Andersen
    The Souvenir reveals itself slowly, calmly, with great deliberation.
    • 69 Metascore
    • 88 Soren Andersen
    Egerton is commanding throughout. His performance is truly a marvel. Rocketman as well.
    • 48 Metascore
    • 50 Soren Andersen
    Curiously though, director Michael Dougherty and his filmmaking team obscure the battle footage in darkness, smoke and downpours, making murky much of the imagery.
    • 53 Metascore
    • 38 Soren Andersen
    It’s got a flying carpet. It’s got an enchanted lamp. It’s got a shape-shifting genie. But alas, Aladdin lacks real magic.

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