For 1,582 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Edge of Heaven
Lowest review score: 0 Orphan
Score distribution:
1582 movie reviews
    • 45 Metascore
    • 60 Ann Hornaday
    No matter how much fun it is to watch -- and for hard-core movie fans, it is often enormous fun -- there's a certain relief when it stops and we're popped back out to our banal, one-track lives.
    • 40 Metascore
    • 60 Ann Hornaday
    He has a knack for creating vivid characters even in the briefest of vignettes in his live act, many of which are taken from his life, growing up poor in Greenbelt.
    • 58 Metascore
    • 60 Ann Hornaday
    Jagged, unrelenting, claustrophobically intimate.
    • 48 Metascore
    • 60 Ann Hornaday
    The sexual frankness is refreshing. As Suzette and Lavinia banter, their dialogue often suggests how "Sex and the City" might sound 20 years hence.
    • 45 Metascore
    • 60 Ann Hornaday
    It's a warm, if pallid, romantic comedy that may not do much more to burnish Lopez's reputation, but will certainly not bruise it.
    • 55 Metascore
    • 60 Ann Hornaday
    As vivid as many scenes are, there are just as many that seem taken directly out of the Cute Irish Movie notebook.
    • 45 Metascore
    • 60 Ann Hornaday
    At the movie's thoroughly expected conclusion, a visual joke has a bedraggled cat licking at the icing on a wedding cake, but it's really Melanie who gets to have it and eat it, too.
    • Washington Post
    • 61 Metascore
    • 60 Ann Hornaday
    McDormand is the best thing about Laurel Canyon. She's also the most unfortunate victim of a film that seems unable or unwilling to give even its most intriguing and compulsively watchable character her due.
    • 59 Metascore
    • 60 Ann Hornaday
    Consistently absorbing -- thanks in large part to strong performances from the actors -- but not particularly rewarding.
    • 57 Metascore
    • 60 Ann Hornaday
    Some viewers will miss the warmth and boisterous family dynamics of its predecessors.
    • 77 Metascore
    • 60 Ann Hornaday
    The film is ultimately too self-regarding, too smug to be transcendent itself.
    • 72 Metascore
    • 60 Ann Hornaday
    Unfolds as a series of meticulous tableaux vivants, but like those parlor pastimes, it lacks physical verve and a compelling emotional charge.
    • 73 Metascore
    • 60 Ann Hornaday
    Will probably appeal most to hard-core fans of Japanese animation and its wide-eyed style, both visual and philosophical.
    • 47 Metascore
    • 60 Ann Hornaday
    Even within what often looks like a self-indulgent exercise in humiliation, pain and gratuitous gore, there is no denying the moments of genuine and powerful feeling in The Passion of the Christ -- some of which, by the way, evoke Jesus's most profound teachings of Jewish principles.
    • 67 Metascore
    • 60 Ann Hornaday
    This is a carefully conceived, thoughtfully orchestrated effort in taste and restraint that ultimately is too restrained and tasteful.
    • 72 Metascore
    • 60 Ann Hornaday
    Will probably appeal only to the most committed of Leigh fans.
    • 49 Metascore
    • 60 Ann Hornaday
    Might provide a much-needed fix for Mac's most ardent fans, but they'll have to wait for a star vehicle that fully exploits the range of his comic gifts.
    • 58 Metascore
    • 60 Ann Hornaday
    Manages to be a diverting and funny character study, at least most of the time.
    • 66 Metascore
    • 60 Ann Hornaday
    On the Outs has its rewards, especially in the mesmerizing performance of Marte.
    • 71 Metascore
    • 60 Ann Hornaday
    Fellowes has brought intelligence and control to the eternally vexing question of whether the right thing is always the good thing.
    • 52 Metascore
    • 60 Ann Hornaday
    It doesn't open up much new territory, except to eschew much of the dark, frank sexuality that has characterized such recent sexual coming-of-age movies as "Mysterious Skin." Instead, Bardwell offers a cheerful, if sometimes strenuously earnest, take on a subject that seems overdue for a lighthearted touch.
    • 62 Metascore
    • 60 Ann Hornaday
    If Loggerheads sometimes feels too forced, it features some unforgettable performances, especially by Hunt, an accomplished comedienne who makes an impressive debut as a dramatic lead here.
    • 70 Metascore
    • 60 Ann Hornaday
    Most revelatory here is Malli, who defies the stereotype of submission and subservience and emerges as a woman of self-possession and substance. (The earthily beautiful Bat-Sheva Rand infuses the character with a generous dollop of her own zaftig sensuality.)
    • 60 Metascore
    • 60 Ann Hornaday
    The movie goes off the rails only when the filmmaker inadvertently legitimizes the Protocols' loony philosophical heirs by interviewing a New York medical examiner and a widow about the remains of one of 9/11's Jewish victims.
    • 72 Metascore
    • 60 Ann Hornaday
    Unfortunately, for all its good music and admirable vocal impersonations, Walk the Line slides -- very, very slowly -- downhill.
    • 70 Metascore
    • 60 Ann Hornaday
    The first two-thirds of Joyeux Noel are strangely inert, but the film ends with a moving and surprisingly sophisticated meditation on the definition of moral duty.
    • 68 Metascore
    • 60 Ann Hornaday
    The film's unforgettable stars are the beauty academy's students, women who have survived tribal warfare, Soviet invasion, Muslim tyranny, American bombs, patriarchal families and even Western good intentions with extraordinary grace and fortitude.
    • 56 Metascore
    • 60 Ann Hornaday
    What might have been a fascinating, intimate portrait turns into something much less compelling when Clark tries to impose a sex-and-action-packed narrative on the proceedings.
    • 77 Metascore
    • 60 Ann Hornaday
    Make no mistake: The War Tapes is not an overtly political film. It appears to grind no partisan ax nor score either red or blue points. Whether viewers support the war or not -- or find themselves somewhere in the mushy middle -- this documentary won't fit comfortably into the pigeonholes of their preconceptions.
    • 63 Metascore
    • 60 Ann Hornaday
    There's too much slow-mo and too many music cues, but there's a low-key buzz to Wahlberg's scenes with Greg Kinnear.
    • 57 Metascore
    • 60 Ann Hornaday
    Say this for Confetti: It's a crowd-pleaser. If, that is, the crowd is composed of people who have never seen a movie by Christopher Guest or a TV show starring Ricky Gervais.
    • 62 Metascore
    • 60 Ann Hornaday
    Often funny (just listen to Becky fulminate against Harry Potter), but it's also a scary.
    • 57 Metascore
    • 60 Ann Hornaday
    Volckman and Miance are undoubtedly superb draftsmen; what they need is a writer of comparable skill.
    • 49 Metascore
    • 60 Ann Hornaday
    With a slick visual style similar to "Monster House", Open Season trots out tropes that recent animated classics have done with more wit and smarts.
    • 56 Metascore
    • 60 Ann Hornaday
    For all its contrivances, Breaking and Entering has its finger on the pulse of contemporary London life and possesses its share of fleeting delights, chief among them the sublime Robin Wright Penn as Law's live-in girlfriend.
    • 73 Metascore
    • 60 Ann Hornaday
    The dour, downbeat story eventually spirals into grisly Grand Guignol and contrivance. Still, Gordon-Levitt is superb, and Jeff Daniels delivers a wry and wily performance as Pratt's blind roommate.
    • 50 Metascore
    • 60 Ann Hornaday
    An uneven, sophomoric and only fitfully funny omnibus of skits, The Ten is one of those silly-on-purpose ensemble exercises that must have been wildly fun to make.
    • 66 Metascore
    • 60 Ann Hornaday
    A movie that soars whenever Child is on the screen and sags when Powell shows up.
    • 51 Metascore
    • 60 Ann Hornaday
    Within this structurally baggy weepie, at least two perfectly good movies fight to break free, one a provocative legal thriller, the other a melodrama.
    • 47 Metascore
    • 60 Ann Hornaday
    Admittedly, this is the stuff of lurid adolescent distraction, not great cinema. Jennifer's Body is strictly a niche item but provides a goofy, campy bookend to "Drag Me to Hell" on the B-movie shelf. Watch it, forget it, move on.
    • 53 Metascore
    • 58 Ann Hornaday
    As a tasteful take on a minor novel, Metroland is genteel enough, but it lacks the urgency and scope of a must-see movie. [07 May 1999]
    • Baltimore Sun
    • 51 Metascore
    • 50 Ann Hornaday
    This is a downbeat, indulgent and self-consciously quirky little movie.
    • 32 Metascore
    • 50 Ann Hornaday
    A fascinating, vexing, indulgent, visionary, pretentious, mesmerizing pop culture curio.
    • 36 Metascore
    • 50 Ann Hornaday
    The movie has been made with consummate carelessness but with occasional moments of knowing humor.
    • 66 Metascore
    • 50 Ann Hornaday
    Rather than sparkle and dance, it plods.
    • 57 Metascore
    • 50 Ann Hornaday
    May not be perfect but must be given credit for all that it does right.
    • 73 Metascore
    • 50 Ann Hornaday
    It resides in that cinematic middle ground of not-bad, not-great, just okay.
    • 61 Metascore
    • 50 Ann Hornaday
    If Quitting isn't worthy of affection exactly, it's worthy of respect.
    • 71 Metascore
    • 50 Ann Hornaday
    Whether the entire production comes off as classy or cloying depends entirely on the viewer's mood.
    • 45 Metascore
    • 50 Ann Hornaday
    Both lead players are appealing and attractive enough to make an otherwise tepid movie at least un-excruciating.
    • 46 Metascore
    • 50 Ann Hornaday
    At once belabored and muddled movie, whose dreamy visual style and daring sexual material can't elide glaring inconsistencies in tone, plot and logic.
    • 45 Metascore
    • 50 Ann Hornaday
    At once daring and hackneyed, absorbing and off-putting, a triumph of one sort and, more lastingly, a failure of another.
    • 34 Metascore
    • 50 Ann Hornaday
    It's perfectly palatable family fare for a long weekend.
    • 46 Metascore
    • 50 Ann Hornaday
    An unobjectionable if uninspired updating of a classic family story for the minivan generation.
    • 44 Metascore
    • 50 Ann Hornaday
    Firmly ensconced among the forgettables in Stiller's career, a generic romantic comedy of the one-from-column-A, one-from-column-B variety.
    • 37 Metascore
    • 50 Ann Hornaday
    A thinly written, hoarily cliched story that serves mostly as connective tissue between the movie's chief draw, its dazzling dance sequences.
    • 48 Metascore
    • 50 Ann Hornaday
    Possesses an undeniable heart. The bad news is that it will still be buried underneath layers of stale Sandlerisms tomorrow, and the next day, and the next.
    • 39 Metascore
    • 50 Ann Hornaday
    Has its modest charms.
    • 31 Metascore
    • 50 Ann Hornaday
    One of those cinematic curiosities that almost always fade quickly, but that will usually find a devoted cult audience once it hits that peculiar Elysian Field known as the aftermarket.
    • 65 Metascore
    • 50 Ann Hornaday
    The skits that comprise Coffee and Cigarettes aren't fully realized short pieces as much as riffs or fragments; their appeal is mostly in their stars.
    • 33 Metascore
    • 50 Ann Hornaday
    Only fitfully funny, and it makes up for what it lacks in genuine humor by overdosing viewers with outrageous sexuality and outsize stereotypes.
    • 38 Metascore
    • 50 Ann Hornaday
    Threatens to become a serious movie, but they're quickly overwhelmed by another indecipherable rampage or outsize visual effect.
    • 55 Metascore
    • 50 Ann Hornaday
    Modestly amusing teen summer comedy.
    • 58 Metascore
    • 50 Ann Hornaday
    Paints an often grave but sometimes hilarious picture of a hugely powerful network.
    • 59 Metascore
    • 50 Ann Hornaday
    The best thing about all of this is Bettany.
    • 43 Metascore
    • 50 Ann Hornaday
    An uneasy mix between "Eternal Sunshine of the Spotless Mind" and the "The X-Files," and one not nearly as smart as either.
    • 55 Metascore
    • 50 Ann Hornaday
    At its best, Woman Thou Art Loosed conveys the unfathomable meaning behind those words.
    • 66 Metascore
    • 50 Ann Hornaday
    Good points aside, In Good Company is a bland, occasionally phlegmatic pastiche of cliches and dull encounters.
    • 35 Metascore
    • 50 Ann Hornaday
    Jigh class briefly gives way to high camp, which then itself dissipates to an anticlimactic thud.
    • 59 Metascore
    • 50 Ann Hornaday
    Often seems less like a fully realized film than an illustrated story, its paragraphs reduced to neatly contrived set pieces.
    • 56 Metascore
    • 50 Ann Hornaday
    If anything, Fever Pitch will give Bosox fans one more chance to relive, in big-screen glory, those fleeting, flavorsome days.
    • 65 Metascore
    • 50 Ann Hornaday
    Its pedagogical tone perfectly suits it for viewing in classrooms.
    • 70 Metascore
    • 50 Ann Hornaday
    A good as the performances are, and as dutiful as Nolan has been in preserving the Kane legacy in Batman Begins, there's something joyless about the enterprise.
    • 63 Metascore
    • 50 Ann Hornaday
    Although it's often difficult to discern amid a schematic plot and overheated, sanctimonious denouement, an undeniable reality underlies Cronicas.
    • 73 Metascore
    • 50 Ann Hornaday
    In a textbook example of the have-it-both-ways ethos of self-loathing narcissism, Carell has succeeded in creating a character of old-fashioned decency in a movie that otherwise flouts it at every turn.
    • 49 Metascore
    • 50 Ann Hornaday
    Mary McDonnell, as Nat's patient wife, provides too-brief clarity as Nat goes off the rails, finally taking the movie with him.
    • 49 Metascore
    • 50 Ann Hornaday
    If I had to sum up Tristan & Isolde for a term paper, I'd say it's like "Braveheart" without the face paint, "Shrek," except the Lord Farquaad character is a sweetheart, and "Freaks and Geeks" because James Franco is so hot, even in Orlando Bloom-y ringlets.
    • 43 Metascore
    • 50 Ann Hornaday
    This would have made a fascinating film if Freedomland were one movie. Instead, it turns into several movies, none fully realized. What could have been an unusually smart police procedural becomes a sprawling, overwrought melodrama that itself morphs into a sort of spiritual romance.
    • 65 Metascore
    • 50 Ann Hornaday
    Fake or not, Unknown White Male doesn't live up to its tantalizing potential.
    • 51 Metascore
    • 50 Ann Hornaday
    Aquamarine is better than nothing for its woefully underserved audience.
    • 46 Metascore
    • 50 Ann Hornaday
    The most controversial thriller of the year turns out to be about as exciting as watching your parents play Sudoku.
    • 58 Metascore
    • 50 Ann Hornaday
    Ratner makes a hash of the story and characters his predecessor brought to such complex, sympathetic life, delivering a pumped-up exercise in mayhem, carnage and blunt-force trauma.
    • 68 Metascore
    • 50 Ann Hornaday
    The net effect is one of frustration and will surely send Cohen compleatists back to their record collections for relief.
    • 68 Metascore
    • 50 Ann Hornaday
    Rather than taking viewers on a twisty, provocative journey through a mazelike meditation on appearance and reality, The Illusionist finally just sits there, looking like a very well-produced pilot for PBS's "Mystery!" series. It's a sophisticated snooze.
    • 43 Metascore
    • 50 Ann Hornaday
    Trust the Man quickly begins to feel hopelessly derivative of other, better movies.
    • 49 Metascore
    • 50 Ann Hornaday
    Pereira goes in for lots of time shifts and split screens, piling on the contrivances like so many costume baubles when a single string of pearls would do.
    • 52 Metascore
    • 50 Ann Hornaday
    Lives up to Tarantino's imprimatur, both in its cheesy grind house aesthetic and its occasional forays into brilliant, bravura filmmaking.
    • 52 Metascore
    • 50 Ann Hornaday
    Instead of a crackling good movie in which "The Longest Yard" meets, say, "The Bad News Bears," director Phil Joanou instead decided to make Gridiron Gang a lugubrious tutorial on the importance of being a winner.
    • 35 Metascore
    • 50 Ann Hornaday
    If Simon's desire to feed the better angels of our nature is admirable, it would be nice if he could do it with better movies.
    • 49 Metascore
    • 50 Ann Hornaday
    As skillful an artist as Range clearly is, he has gone to an awful lot of trouble to make a painfully obvious point about threats to civil liberties in a post-9/11 world.
    • 68 Metascore
    • 50 Ann Hornaday
    Things take a nasty turn in the film's bilious third act, suggesting that Guest's deepest gift -- his expansive humanism -- stops at the studio gates.
    • 55 Metascore
    • 50 Ann Hornaday
    Jack Black and Kyle Gass bring characters they created for the HBO program "Mr. Show With Bob and David" to the big screen with mixed success, depending on the age, gender and degree of inebriation of the filmgoer.
    • 52 Metascore
    • 50 Ann Hornaday
    This drab exercise in glum piety slumps where it should soar, sapping the story of its mystery and transcendence with an overriding sense of literality.
    • 76 Metascore
    • 50 Ann Hornaday
    Even with Hudson's triumphant arrival and an overall fizzy mood of singing, dancing, pop nostalgia and camp, Dreamgirls is an uneven crowd pleaser.
    • 72 Metascore
    • 50 Ann Hornaday
    If anything, it's worth watching as yet another example of Lynch's extraordinary collaboration with Dern. It may be overstating things to call her performance heroic, but it's nothing if not brave, as she dares to embody Lynch's most brutal impressions of Hollywood -- not as a dream factory, but as the place where dreams come to die.
    • 66 Metascore
    • 50 Ann Hornaday
    Never quite breaks out of its talky inertia.
    • 39 Metascore
    • 50 Ann Hornaday
    Unfortunately, Provoked possesses the tiny production values and schmaltzy music of a prime-time special, despite its ensemble of terrific actors.
    • 61 Metascore
    • 50 Ann Hornaday
    If Broken English occasionally falls prey to a bit too much self-conscious lethargy, it's still a welcome chance to see Posey at her flighty, edgy best.
    • 45 Metascore
    • 50 Ann Hornaday
    High-grade cheese, the sort of highly pitched melodrama that in the 1950s would have been the stuff of a lurid, lavishly staged Douglas Sirk picture.
    • 40 Metascore
    • 50 Ann Hornaday
    A throwback to 1970s blaxploitation flicks, with a Latin accent, Illegal Tender would be a brassy, sassy guilty pleasure if it were more, well, pleasurable.

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