For 1,261 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 3.1 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Whale Rider
Lowest review score: 0 The Babysitters
Score distribution:
1,261 movie reviews
    • 47 Metascore
    • 38 Ann Hornaday
    (Perry and Willis) are blown off the screen by Amanda Peet and Natasha Henstridge.
    • 47 Metascore
    • 38 Ann Hornaday
    Little more than an electronic press kit for the band, produced for the benefit of its fans.
    • Baltimore Sun
    • 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
    • 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
    Blessed with some outstanding performances, among them Ribisi's.
    • Baltimore Sun
    • 46 Metascore
    • 38 Ann Hornaday
    Bullock's character goes through some changes, but she never turns into some unrecognizably serious actress.
    • 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
    • 28 Metascore
    • 38 Ann Hornaday
    Busy, over-stylized mess of a movie.
    • 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.
    • 63 Metascore
    • 38 Ann Hornaday
    Overblown sanctimony and sentimentalism as corny as the Fourth of July.
    • 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
    • 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.
    • 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.
    • 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).
    • 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.
    • 37 Metascore
    • 37 Ann Hornaday
    Adore at its core is a bore, nothing more.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 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.
    • 39 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
    • 47 Metascore
    • 30 Ann Hornaday
    The frightening myths about adoption that run through Like Mike make even its happiest endings a little bit creepy.
    • 51 Metascore
    • 30 Ann Hornaday
    Should have been a smart bit of cinematic froth but instead sinks like an overworked souffle.