For 1,309 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 3.4 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Fargo
Lowest review score: 0 Splice
Score distribution:
1,309 movie reviews
    • 63 Metascore
    • 38 Ann Hornaday
    If Shutter Island, a gothic thriller starring Leonardo DiCaprio and Mark Ruffalo, were put to a free association test, the word most likely to come to mind would certainly be "weird."
    • 30 Metascore
    • 38 Ann Hornaday
    To his (Snipes) credit, there are few other stars who could breathe a degree of credibility into a film like The Art of War.
    • Baltimore Sun
    • 25 Metascore
    • 38 Ann Hornaday
    Of Madonna's considerable talents, making the camera love her isn't one: The screen seems to go dead every time she's on it.
    • 62 Metascore
    • 38 Ann Hornaday
    An only fitfully engaging L.A. soap opera.
    • 37 Metascore
    • 38 Ann Hornaday
    Never makes the Jordans' tribulations feel like anything more than yuppie angst.
    • 40 Metascore
    • 38 Ann Hornaday
    Giamatti provides those small moments of triumph that Duets pretends to celebrate but instead stifles with its sense of superiority.
    • Baltimore Sun
    • 56 Metascore
    • 38 Ann Hornaday
    There's less here than meets the eye, not to mention the ear, nose, tongue and fingertip.
    • Baltimore Sun
    • 63 Metascore
    • 38 Ann Hornaday
    Blessed with some outstanding performances, among them Ribisi's.
    • Baltimore Sun
    • 47 Metascore
    • 38 Ann Hornaday
    Little more than an electronic press kit for the band, produced for the benefit of its fans.
    • Baltimore Sun
    • 28 Metascore
    • 38 Ann Hornaday
    Busy, over-stylized mess of a movie.
    • 61 Metascore
    • 38 Ann Hornaday
    With a grating combination of naivete and arrogance, The Green Mile consistently overplays its melodramatic material, including a portrait of a black man that is as breathtakingly offensive as it is earnest.
    • Baltimore Sun
    • 47 Metascore
    • 38 Ann Hornaday
    (Perry and Willis) are blown off the screen by Amanda Peet and Natasha Henstridge.
    • 46 Metascore
    • 38 Ann Hornaday
    Bullock's character goes through some changes, but she never turns into some unrecognizably serious actress.
    • Baltimore Sun
    • 63 Metascore
    • 38 Ann Hornaday
    Overblown sanctimony and sentimentalism as corny as the Fourth of July.
    • 49 Metascore
    • 38 Ann Hornaday
    At some point the foul language, lascivious sight gags, references to sex toys, violence against animals and cruelty toward children simply ceases to be funny.
    • Baltimore Sun
    • 35 Metascore
    • 38 Ann Hornaday
    Brain-softener.
    • Baltimore Sun
    • 58 Metascore
    • 38 Ann Hornaday
    An uninteresting take on a tired formula that is only occasionally funny and usually pretty gross.
    • Baltimore Sun
    • 56 Metascore
    • 38 Ann Hornaday
    Offers jaw-dropping visuals, but its troubling images of violence may cause this revolutionary effort to miss the evolutionary boat.
    • Baltimore Sun
    • 55 Metascore
    • 38 Ann Hornaday
    Michael Caine delivers a stunning performance in Harry Brown, a rancid little revenge fantasy that probably doesn't deserve him.
    • 69 Metascore
    • 38 Ann Hornaday
    A dog-frequency movie: enjoyable only to those tuned in to its particular register.
    • 63 Metascore
    • 38 Ann Hornaday
    There's very little that's even kind of funny in It's Kind of a Funny Story, which can't accurately be described as a comedy but isn't a true drama, either.
    • 55 Metascore
    • 38 Ann Hornaday
    A jagged little pill of a movie from baby boomer avatar Edward Zwick.
    • 47 Metascore
    • 38 Ann Hornaday
    This fitfully funny but mostly dull misfire defines exactly where the line can be drawn between truly subversive humor and lazy cynicism.
    • 39 Metascore
    • 38 Ann Hornaday
    As it is, the audience must content itself with baby poop, naughty words and the female anatomy at its pneumatic extreme, while Bateman and Reynolds's search for transcendence continues.
    • 39 Metascore
    • 38 Ann Hornaday
    One of the weaknesses of The Sitter is that Hill doesn't develop much comic chemistry with the children.
    • 31 Metascore
    • 38 Ann Hornaday
    As this sloppy, scattered, utterly synthetic piece of Hollywood widgetry unspools, it becomes increasingly clear that the romantic tension at play exists mostly between the men in question.
    • 47 Metascore
    • 38 Ann Hornaday
    Rock of Ages gets too mired in plotty cul de sacs, manufactured setbacks and numbers that are all staged as show-stoppers. In the words of the Journey song that serves as a climactic singalong, it goes on and on and on and on.
    • 62 Metascore
    • 38 Ann Hornaday
    Ted
    Eventually MacFarlane's formula -- consisting of filthy, ethnically offensive jokes, scatological humor, tacky pop culture references and random cameos -- begins to wear thin.
    • 40 Metascore
    • 38 Ann Hornaday
    Man on a Ledge has its diverting moments, but by the time it has reached its too-pat final twist, it turns out to be a title desperately in search of a movie.
    • 55 Metascore
    • 38 Ann Hornaday
    Dark Shadows doesn't know where it wants to dwell: in the eerie, subversive penumbra suggested by its title or in playful, go-for-broke camp.
    • 50 Metascore
    • 38 Ann Hornaday
    Anne Fletcher's lifeless comedy about an overbearing mother and her exasperated adult son, has no flawlessly delivered punch lines. It doesn't even have a hangnail.
    • 58 Metascore
    • 38 Ann Hornaday
    It's a bloated, shockingly tedious trudge that manages to look both overproduced and unforgivably cheesy.
    • 59 Metascore
    • 38 Ann Hornaday
    All of it makes for a rollicking, outsize tale of overweening ambition and palace intrigue, but J. Edgar instead plays it safe in a turgid, back-and-forth series of tableaux that look as if they were filmed from behind a scrim soaked in weak tea.
    • 37 Metascore
    • 38 Ann Hornaday
    Conceived and directed by Madonna, W.E. is a gorgeous mess.
    • 57 Metascore
    • 38 Ann Hornaday
    That Winterbottom has delivered a dud makes Trishna all the more disappointing, a rare unsatisfying swerve from an otherwise reliably provocative career.
    • 39 Metascore
    • 38 Ann Hornaday
    Director Scott Hicks lavishes good taste and sunsets on a story that - devoid of genuine tension, conflict or combustible chemistry between its two stars - just prettily sits there.
    • 60 Metascore
    • 38 Ann Hornaday
    First-time director Anne Sewitsky may intend Happy, Happy as a Chekhovian chamber piece or romantic bagatelle, but her smugness about racism - and her glib symbolic resolution of the conflicts she raises - suggests an ambition that far outstrips her ability, at least for now.
    • 57 Metascore
    • 38 Ann Hornaday
    It's a curio, ripe with dreamy atmospherics and intriguing mysteries, but little else.
    • 40 Metascore
    • 38 Ann Hornaday
    Slick, sick, self-consciously stylish and defiantly shallow, Gangster Squad is one of those movies you can't talk about without invoking other (often better) movies. A lot of movies.
    • 59 Metascore
    • 38 Ann Hornaday
    A strange little movie. Unsure whether it wants to be a quirky, sad-eyed indie pixie or a brassy, raunchy broad, it veers uneasily between the two, never quite settling into a comfortable or recognizable groove.
    • 50 Metascore
    • 38 Ann Hornaday
    Jack Reacher is a wildly ill-advised miscalculation, with Cruise's virtually unstoppable appeal butting uncomfortably against Reacher's alternately cocky and downright crude cynicism.
    • 49 Metascore
    • 38 Ann Hornaday
    Gerwig remains one of the most captivating new stars to hit the big screen, but she's still looking for a movie that deserves her.
    • 34 Metascore
    • 37 Ann Hornaday
    Safe Haven is one of those Valentine’s Day confections that satisfy your sweet tooth until you get to their weird, off-putting center. The problem with movies is that you can’t put them back in the box.
    • 55 Metascore
    • 37 Ann Hornaday
    Snyder tries to up the spectacle ante with ever more explosions, crashes, thermal blasts, topological realignments, gunfire and mano-a-mano fistfights. But the result is a punishing sense of diminishing returns and a genre that has finally reached the point of mayhem-induced exhaustion.
    • 28 Metascore
    • 37 Ann Hornaday
    Both assaultive and tiresome, A Good Day to Die Hard barely registers on the action movie Richter scale. It goes bang, it goes boom, and then it blessedly goes away.
    • 52 Metascore
    • 37 Ann Hornaday
    White House Down never quite seems to decide what kind of movie it wants to be, although by firepower alone it qualifies as this summer’s most cartoonishly bombastic exercise in sensory overload (so far).
    • 60 Metascore
    • 37 Ann Hornaday
    Bullock and McCarthy and the chemistry they generate are far more compelling than the movie they’re in. Too often the sketches go on too long, and the coarse, abrasive tone quickly begins to feel repetitive and off-putting.
    • 36 Metascore
    • 37 Ann Hornaday
    The film might take its name from poker subculture, but it lacks all the urgency, single-mindedness and swiftness that the title implies at its most literal. Runner Runner is a bummer. Bummer.
    • 55 Metascore
    • 37 Ann Hornaday
    2 Guns feels like it’s all been done before, whether by John Woo, Michael Bay or any number of their CGI-happy clones.
    • 44 Metascore
    • 37 Ann Hornaday
    It would be dishonest to claim it isn’t funny. The laughs may come in fits and starts, usually by way of sight gags and set pieces, but they do come. And then they go.
    • 48 Metascore
    • 37 Ann Hornaday
    A movie that, despite its strenuous efforts to appear hardened and sexy and sleek, is unforgivably phony, talky and dull.
    • 39 Metascore
    • 37 Ann Hornaday
    Although The Other Woman nibbles around the edges of revealing truths about relationships, it leaves most of that potential behind, instead pursuing easy, exhausted cliches about zip-less marriages, upper class suburban drudgery, cynical careerism and dumb-but-sweet blondes.
    • 36 Metascore
    • 37 Ann Hornaday
    The best thing about awkward moments, after all, is that they usually pass quickly. And, blessedly, just as swiftly forgotten.
    • 37 Metascore
    • 37 Ann Hornaday
    Adore at its core is a bore, nothing more.
    • 50 Metascore
    • 37 Ann Hornaday
    The Zero Theorem doesn’t fully earn the elaborately conceived scaffolding on which its relatively tame ideas are hoisted.
    • 40 Metascore
    • 37 Ann Hornaday
    Even at its lamest and most entitled, this sequel will most likely please fans of the first installment, chiefly because Bateman, Sudeikis and Day are, admittedly, often very funny together.
    • 37 Metascore
    • 37 Ann Hornaday
    Don’t expect to see a great film, or even a very good one. Whether you discover a meaningful channel with which to continue your walk with the film’s protagonist, however, is strictly between you and your god.
    • 38 Metascore
    • 37 Ann Hornaday
    Reiner assembles a square meal of rom-com pleasure points, but it’s bland, by-the-numbers and not particularly memorable.
    • 38 Metascore
    • 37 Ann Hornaday
    As is true with so much of Haggis’s work, Third Person suffers from an airless, too-neat lack of connection with organic life.
    • 49 Metascore
    • 37 Ann Hornaday
    There’s no doubt that Aniston deserves more roles like this one but, with luck, in less maudlin, more surprising movies.
    • 42 Metascore
    • 33 Ann Hornaday
    The Loss of Sexual Innocence is belabored, pretentious and often willfully opaque. [25 Jun 1999]
    • Baltimore Sun
    • 23 Metascore
    • 30 Ann Hornaday
    Not good enough to qualify as classic Gothic horror, not nearly fun enough to qualify as great B-movie camp.
    • 58 Metascore
    • 30 Ann Hornaday
    It's in these vignettes that Away We Go begins to feel less like an authentic exploration of identity than a condemnation of the very community the couple pretends to crave. No one, it turns out, is good enough for Burt and Verona.
    • 59 Metascore
    • 30 Ann Hornaday
    An overlong, visually incoherent, mean-spirited and often just plain awful Spider-Man 3.
    • 54 Metascore
    • 30 Ann Hornaday
    Seems fatally out of tune, with every staged encounter falling as flat as the protagonist's hot-ironed bob.
    • 44 Metascore
    • 30 Ann Hornaday
    But by the time Willis's character saves this considerably long day, it's filmgoers who will no doubt feel like prisoners, as a movie that promises to be a taut nail-biter devolves into the kind of silly, overblown climax parodied so beautifully by Robert Altman in "The Player."
    • 63 Metascore
    • 30 Ann Hornaday
    It feels like a retread of several better movies, with a nastier, more bitter edge.
    • 44 Metascore
    • 30 Ann Hornaday
    This romantic melodrama ... doesn't even get to first base.
    • 39 Metascore
    • 30 Ann Hornaday
    Indeed it looks as if this otherwise straight-to-video endeavor, which was made in 2003, is being released only to cash in on Bernal's of-the-moment-ness in Hollywood.
    • 34 Metascore
    • 30 Ann Hornaday
    A predictable and outlandishly contrived take on the Pygmalion myth.
    • 78 Metascore
    • 30 Ann Hornaday
    For all its stylishness, verve and moments of visual poetry, the relentlessly punishing slapstick and overall cruel tone left me cold.
    • 53 Metascore
    • 30 Ann Hornaday
    As a director, Solondz seems to have his own locked-in fate -- to favor caricature over compassion -- and his movies are the worse for it.
    • 48 Metascore
    • 30 Ann Hornaday
    Whether it's the sight of Reynolds squeezed painfully into a football uniform or the endless footballs-to-the-crotch and tired gay jokes, The Longest Yard has the feeling of mutton dressed as lamb.
    • 67 Metascore
    • 30 Ann Hornaday
    Until the last 20 minutes or so of Rock School, the actual playing, while often startlingly good, is kind of boring.
    • 59 Metascore
    • 30 Ann Hornaday
    Heights is nothing more than a second-rate version of several much better movies, all of which are available on DVD and video.
    • 34 Metascore
    • 30 Ann Hornaday
    Regardless of the cute little hats and clam-diggers she wears, it's impossible to believe Kidman as a breathless ingenue; that relentless drive and steely Kidmanesque determination keep jutting through the cotton in flinty, sharp-edged shards.
    • 55 Metascore
    • 30 Ann Hornaday
    Yes
    It's a bold exercise, an interesting experiment, but a movie it ain't.
    • 52 Metascore
    • 30 Ann Hornaday
    Dark, dank, damp, grim, dingy and dour, Dark Water is a tasteful but unremitting bummer.
    • 72 Metascore
    • 30 Ann Hornaday
    The satirical edge has been dulled in a film that is dominated, and ultimately swamped, by its star's mannered, pixilated performance.
    • 43 Metascore
    • 30 Ann Hornaday
    9 Songs inadvertently proves just how limited experimentation for its own sake can be.
    • 47 Metascore
    • 30 Ann Hornaday
    Outlandish, uneven, preposterous and often maddeningly morbid.
    • 42 Metascore
    • 30 Ann Hornaday
    G
    For anyone to enjoy this starchy, contrived exercise in vanity and product placement, it's best not to have read the book. In fact, it's best not to have read ANY book.
    • 65 Metascore
    • 30 Ann Hornaday
    The fact that there's nothing wrong with it -- that there's nary a scenic detail or scrap of dialogue or performance that isn't utterly on the nose -- is precisely what's wrong with it.
    • 45 Metascore
    • 30 Ann Hornaday
    May look good cavorting prettily on deck, but ultimately it deserves to walk the plank.
    • 45 Metascore
    • 30 Ann Hornaday
    Shockingly inert.
    • 51 Metascore
    • 30 Ann Hornaday
    The stars of First Descent aren't particularly memorable, or even likable. At their worst, they come off as cocky, self-absorbed Peter Pans; at their best, they're sweet but shallow.
    • 38 Metascore
    • 30 Ann Hornaday
    Most of the humor in The Pink Panther derives from Martin's silly French accent, especially when he tries to pronounce the word "hamburger." But zat joke, she ees not funny. And The Pink Panther ees, how you say, ze real dog.
    • 43 Metascore
    • 30 Ann Hornaday
    As a comic actor, Allen's palette is limited to varying degrees of beige. He is not only boring, he's obnoxious and narcissistic. Where's the ASPCA -- the American Society for the Prevention of Cruelty to Audiences -- when you need 'em?
    • 46 Metascore
    • 30 Ann Hornaday
    Artistically, You, Me and Dupree is a mess. Technically, it's an abomination. Spiritually, it's a void. Commercially, it'll probably be a big hit.
    • 68 Metascore
    • 30 Ann Hornaday
    A grisly, often cynical piece of work whose joyless, aggressive spirit is made even less appealing by its soulless visual style.
    • 29 Metascore
    • 30 Ann Hornaday
    Creepy, creepy, creepy -- and not in a good way.
    • 36 Metascore
    • 30 Ann Hornaday
    Rarely has an actress exuded such blank nothingness as Simpson, a one-woman vapid delivery system who sucks the energy and joy out of every scene she's in, like some freakishly well-endowed black hole.
    • 49 Metascore
    • 30 Ann Hornaday
    The two main characters are so shallow and self-involved -- not to mention the friends, family members and sundry apparatchiks they lug around with them -- that the two hours of Flannel Pajamas begin to feel like real time.
    • 28 Metascore
    • 30 Ann Hornaday
    Winds up answering the question of what "Shrek" hath wrought, and between its plastic-looking visuals and cynical attitude, the news isn't good. Lacking the genuine wit and humanism of that film and any number of forebears, this one deserves its dumpin'.
    • 26 Metascore
    • 30 Ann Hornaday
    What the filmmakers try to play for laughs -- a mom and her daughters chatting about orgasms while shoe shopping -- isn't funny, it's creepy.
    • 33 Metascore
    • 30 Ann Hornaday
    What it possesses in heart and goodwill, it sorely lacks in narrative skill and artistic depth.
    • 36 Metascore
    • 30 Ann Hornaday
    John C. McGinley from "Scrubs" gets to strut some of his comic stuff as the deranged builder, but he's the only passable feature in a property that should be condemned.
    • 32 Metascore
    • 30 Ann Hornaday
    A piece of holiday cheese that even Harry & David wouldn't touch.
    • 68 Metascore
    • 30 Ann Hornaday
    Trudging nobly under a mantle of impeccably earnest intentions and a fussy, too-quaint-by-half production design, Honeydripper lags and drags to its utterly predictable end. There's not a spark of spontaneity or soul about it.
    • 34 Metascore
    • 30 Ann Hornaday
    One part Joseph Campbell hero quest, one part multi-culti morality tale, one part live-action "Flintstones" cartoon, 10,000 B.C. is finally every part just plain nuts, from a hike featuring more ecosystems than an Al Gore documentary to a wacky climax set amid pyramids that -- you'll e-mail me if I'm wrong -- wouldn't have been built for another 7,000 years or so.

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