For 1,346 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 3 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 All Is Lost
Lowest review score: 0 Tideland
Score distribution:
1,346 movie reviews
    • 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.
    • 37 Metascore
    • 30 Ann Hornaday
    A film that, in attempting to ridicule the Bush administration, finally just settles for being ridiculous itself.
    • 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.
    • 53 Metascore
    • 30 Ann Hornaday
    Could be filed under "wacky misfire."
    • 26 Metascore
    • 30 Ann Hornaday
    A nasty, formulaic and unforgivably obvious procedural.
    • 45 Metascore
    • 30 Ann Hornaday
    May look good cavorting prettily on deck, but ultimately it deserves to walk the plank.
    • 33 Metascore
    • 30 Ann Hornaday
    A movie marred by a flaccid script, listless pacing, a plethora of cutesy-poo gags and Ray Romano.
    • 46 Metascore
    • 30 Ann Hornaday
    An endless, virtually laugh-free pastiche of Aaron Sorkin by way of Aaron Spelling, Chasing Liberty features Mandy Moore trying so strenuously to be the next America's Sweetheart that she almost pops a vein.
    • 38 Metascore
    • 30 Ann Hornaday
    A retread of material already thoroughly plumbed by Martin Scorsese.
    • 44 Metascore
    • 30 Ann Hornaday
    This romantic melodrama ... doesn't even get to first base.
    • 29 Metascore
    • 30 Ann Hornaday
    Creepy, creepy, creepy -- and not in a good way.
    • 52 Metascore
    • 30 Ann Hornaday
    It's a remarkable, if appalling, spectacle of self-abasement. But of course, that's Sandler's specialty.
    • 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.
    • 37 Metascore
    • 30 Ann Hornaday
    The movie winds up a casualty of schmaltzy, patronizing sentiment on the one hand and overweening ambition on the other.
    • 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.
    • 42 Metascore
    • 30 Ann Hornaday
    Plays less like a novel re-imagining of a classic if campy narrative than a drearily self-conscious exercise in Know Your Film References.
    • 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.
    • 55 Metascore
    • 30 Ann Hornaday
    Yes
    It's a bold exercise, an interesting experiment, but a movie it ain't.
    • 28 Metascore
    • 30 Ann Hornaday
    Doesn't orchestrate the scares with much finesse.
    • 42 Metascore
    • 30 Ann Hornaday
    Has the tired, over-baked feeling of a script that never quite worked but was tinkered with until every ounce of spontaneity or life was hammered out of it.
    • 52 Metascore
    • 30 Ann Hornaday
    It's piddling -- a hangdog little comedy with not enough laughs...its spirit rattles around inside it like a marble in an oil drum.
    • 48 Metascore
    • 30 Ann Hornaday
    Two-hour exercise in chaotic action and coarse, annoyingly coy sexuality.

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