For 1,370 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 2.8 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Chicago 10
Lowest review score: 0 Orphan
Score distribution:
1,370 movie reviews
    • 63 Metascore
    • 38 Ann Hornaday
    Blessed with some outstanding performances, among them Ribisi's.
    • Baltimore Sun
    • 58 Metascore
    • 38 Ann Hornaday
    It's a bloated, shockingly tedious trudge that manages to look both overproduced and unforgivably cheesy.
    • 63 Metascore
    • 38 Ann Hornaday
    Overblown sanctimony and sentimentalism as corny as the Fourth of July.
    • 69 Metascore
    • 38 Ann Hornaday
    A dog-frequency movie: enjoyable only to those tuned in to its particular register.
    • 58 Metascore
    • 38 Ann Hornaday
    An uninteresting take on a tired formula that is only occasionally funny and usually pretty gross.
    • Baltimore Sun
    • 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.
    • 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.
    • 62 Metascore
    • 38 Ann Hornaday
    An only fitfully engaging L.A. soap opera.
    • 35 Metascore
    • 38 Ann Hornaday
    Brain-softener.
    • Baltimore Sun
    • 28 Metascore
    • 38 Ann Hornaday
    Busy, over-stylized mess of a movie.
    • 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.
    • 55 Metascore
    • 38 Ann Hornaday
    A jagged little pill of a movie from baby boomer avatar Edward Zwick.
    • 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
    • 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.
    • 47 Metascore
    • 38 Ann Hornaday
    (Perry and Willis) are blown off the screen by Amanda Peet and Natasha Henstridge.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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."
    • 46 Metascore
    • 38 Ann Hornaday
    Bullock's character goes through some changes, but she never turns into some unrecognizably serious actress.
    • Baltimore Sun
    • 39 Metascore
    • 38 Ann Hornaday
    One of the weaknesses of The Sitter is that Hill doesn't develop much comic chemistry with the children.
    • 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.
    • 47 Metascore
    • 38 Ann Hornaday
    Little more than an electronic press kit for the band, produced for the benefit of its fans.
    • Baltimore Sun
    • 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.
    • 56 Metascore
    • 38 Ann Hornaday
    There's less here than meets the eye, not to mention the ear, nose, tongue and fingertip.
    • Baltimore Sun
    • 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.
    • 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.
    • 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
    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.
    • 37 Metascore
    • 38 Ann Hornaday
    Conceived and directed by Madonna, W.E. is a gorgeous mess.
    • 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
    • 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.
    • 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
    • 57 Metascore
    • 38 Ann Hornaday
    It's a curio, ripe with dreamy atmospherics and intriguing mysteries, but little else.
    • 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.
    • 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
    • 37 Metascore
    • 38 Ann Hornaday
    Never makes the Jordans' tribulations feel like anything more than yuppie angst.
    • 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.
    • 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.
    • 37 Metascore
    • 37 Ann Hornaday
    Adore at its core is a bore, nothing more.
    • 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
    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.
    • 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.
    • 50 Metascore
    • 37 Ann Hornaday
    Writer-director Rupert Goold, here making his feature debut, fails to capture the chemistry and tonal complexity necessary to make this grim, often grisly tale anything more than a tragically lurid anecdote.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 37 Ann Hornaday
    Although Lee briefly engages in some fascinating ideas linking the vampire’s existence to cultural empowerment, preservation and survival, he squanders that potential in leaden soft-core cliches that usually wind up with him ogling the female form.
    • 52 Metascore
    • 37 Ann Hornaday
    This calculatingly adorable coming-of-age tale has its delights — chiefly in a modest, endearing lead performance from Anton Yelchin and an amusing two-handed turn by Glenn Close and Frank Langella as his parents — but feels more constructed than lived.
    • 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.
    • 57 Metascore
    • 37 Ann Hornaday
    Southpaw may be rote, predictable and mawkish, but none of those faults lie in its star. Even when he looks like an unholy mess, he transcends the movie he’s in.
    • 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.
    • 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.
    • 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.
    • 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).
    • 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.
    • 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.
    • 59 Metascore
    • 37 Ann Hornaday
    At times, Unfriended really clicks — but ultimately, it’s a drag.
    • 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.
    • 42 Metascore
    • 33 Ann Hornaday
    The Loss of Sexual Innocence is belabored, pretentious and often willfully opaque. [25 Jun 1999]
    • Baltimore Sun
    • 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.
    • 43 Metascore
    • 30 Ann Hornaday
    9 Songs inadvertently proves just how limited experimentation for its own sake can be.
    • 39 Metascore
    • 30 Ann Hornaday
    Sloppy compendium of filthy jokes and lowbrow sight gags.
    • 56 Metascore
    • 30 Ann Hornaday
    Sylvia plays it safe, and in doing so it becomes little more than just another domestic melodrama devoid of life and, of all things, poetry.
    • 32 Metascore
    • 30 Ann Hornaday
    A stunningly inert piece of cinema, a movie that basically boils down to serial shots of people talking to each other.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 30 Ann Hornaday
    A movie that sags and drags under the weight of poor pacing, execrable writing and largely unlikable characters.
    • 51 Metascore
    • 30 Ann Hornaday
    In reality, Eros is a letdown, a collection of bagatelles that, with one exception, fails to live up to its promise.
    • 36 Metascore
    • 30 Ann Hornaday
    A boilerplate melodrama whose good guys and bad guys are so baldly drawn they could have been conceived by Friz Freleng.
    • 40 Metascore
    • 30 Ann Hornaday
    An inert, sloppily written melodrama as grim and featureless as its frozen Midwestern setting.
    • 55 Metascore
    • 30 Ann Hornaday
    At once listless and overheated, giddy and utterly zipless, the current incarnation lacks not just the savoir-faire of its stylish predecessor but also the sex appeal.
    • 41 Metascore
    • 30 Ann Hornaday
    The loudest, trashiest, stupidest, cheesiest celebration of ritualized male aggression of 2004.
    • 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.
    • 58 Metascore
    • 30 Ann Hornaday
    Sadly, the filmmakers haven't given viewers enough context or information about their protagonist to know whether he's utterly free or utterly unmoored -– or to care very much either way.
    • 62 Metascore
    • 30 Ann Hornaday
    Viewers anticipating side-splitting guffaws will be disappointed: Stuck on You is a strangely lackluster, flaccid string of fitfully humorous episodes.
    • 45 Metascore
    • 30 Ann Hornaday
    Shockingly inert.
    • 61 Metascore
    • 30 Ann Hornaday
    The question is why the time, talent and treasure of such energetic and even gifted artists have been marshaled in such a disgusting and trivial genre exercise and what viewers are supposed to get out of it. Isn't life hard enough?
    • 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
    Pride and Glory would be risible if it weren't so reprehensible.
    • 63 Metascore
    • 30 Ann Hornaday
    It feels like a retread of several better movies, with a nastier, more bitter edge.
    • 47 Metascore
    • 30 Ann Hornaday
    It winds up being tuneless, unfunny and, despite its strenuous efforts, not terribly sexy.
    • 27 Metascore
    • 30 Ann Hornaday
    Bland, workmanlike and instantly forgettable.
    • 33 Metascore
    • 30 Ann Hornaday
    The effect isn't just frenetic, unfunny and dull. It's kind of creepy.
    • 43 Metascore
    • 30 Ann Hornaday
    In a summer of surprisingly self-serious comic book movies" Lara Croft "stands out as being particularly humorless.
    • 48 Metascore
    • 30 Ann Hornaday
    Traffics in nearly every trite cliche of the "colorful" South one can think of, from its pseudo-Gothic aesthetic to its overripe dialogue.
    • 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
    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.
    • 38 Metascore
    • 30 Ann Hornaday
    So cheesy and cheap that it almost attains high camp.
    • 83 Metascore
    • 30 Ann Hornaday
    Watching Thurman's character "triumph" in a context as joyless and self-referential as Tarantino's is a soul-deadening experience, one that over two hours takes on the same dreary monotone as the cheapest pornography.
    • 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.
    • 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.
    • 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.

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