For 1,327 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 3.3 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Seymour: An Introduction
Lowest review score: 0 Whatever Works
Score distribution:
1,327 movie reviews
    • 53 Metascore
    • 30 Ann Hornaday
    Could be filed under "wacky misfire."
    • 38 Metascore
    • 30 Ann Hornaday
    As Crossing Over makes its patronizing points, by way of two-dimensional characters and billboarded plot points, it recalls other, better movies that dealt with the same subjects far more deftly.
    • 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.
    • 54 Metascore
    • 30 Ann Hornaday
    Seems fatally out of tune, with every staged encounter falling as flat as the protagonist's hot-ironed bob.
    • 39 Metascore
    • 30 Ann Hornaday
    Sloppy compendium of filthy jokes and lowbrow sight gags.
    • 42 Metascore
    • 25 Ann Hornaday
    It leaves audiences in a limbo every bit as torturous as the one the protagonist is in.
    • 49 Metascore
    • 25 Ann Hornaday
    It's a film within a film about a film within a film, and seems to lose layers of authenticity with each iteration, finally becoming a profoundly alienating experience.
    • 27 Metascore
    • 25 Ann Hornaday
    The biggest sin of Sex and the City 2 is its lack of beauty. It's garish when it should be sumptuous, tacky when it should be luxe, wafer-thin when it should be whip-smart and sophisticated.
    • 30 Metascore
    • 25 Ann Hornaday
    Grown Ups finds Sandler reverting to lunkheaded, lazy-laff form.
    • 33 Metascore
    • 25 Ann Hornaday
    An egregiously unfunny enterprise.
    • 45 Metascore
    • 25 Ann Hornaday
    Haphazardly conceived, phlegmatically paced, lazily filmed and punctuated with gratuitous moments of sexual and scatological slapstick.
    • 29 Metascore
    • 25 Ann Hornaday
    A lurid, loopy, utterly ludicrous enterprise.
    • 44 Metascore
    • 25 Ann Hornaday
    The Hangover Part II offers absolutely nothing new to fans of the first film. In fact, once the comfort of familiarity has worn off, they may well feel as baited-and-switched as the patrons of one of the sketchier clubs the boys visit.
    • 49 Metascore
    • 25 Ann Hornaday
    Akin to watching a ring-tested champion punch far below his weight. What a comedown.
    • 74 Metascore
    • 25 Ann Hornaday
    A shapeless collection of encounters with Texas prison inmates and their victims, what could have been a well-aimed examination of the most troubling contradictions of capital punishment instead becomes a maudlin, unrestrained wallow.
    • 22 Metascore
    • 25 Ann Hornaday
    Behind all the noisemakers and funny glasses, New Year's Eve - and everyone in it - is dead behind the eyes.
    • 46 Metascore
    • 25 Ann Hornaday
    There's a fine line between precocious and insufferable, and it's a line continually crossed by Extremely Loud and Incredibly Close.
    • 51 Metascore
    • 25 Ann Hornaday
    Even Strong's best efforts can't save John Carter from collapsing in on itself like a dead star.
    • 58 Metascore
    • 25 Ann Hornaday
    Even amid the hit-and-miss broadsides and laugh-free longueurs that comprise most of The Dictator, Cohen's acute hypocrisy-detector keeps on ticking, if barely.
    • 42 Metascore
    • 25 Ann Hornaday
    So didactic that viewers are likely to feel less uplifted than lectured.
    • 45 Metascore
    • 25 Ann Hornaday
    A sequel every bit as clumsy, ham-handed, outlandish and laughable as the original was sleek, tough and efficient.
    • 27 Metascore
    • 25 Ann Hornaday
    A dreary, dismally unfunny excuse for a romantic comedy.
    • 48 Metascore
    • 25 Ann Hornaday
    Hill and Stallone seem determined simply to prove that, even in their golden years, they're still tough enough to rumble with all comers. Bullet to the Head exposes that bravado for the pose that it is, and it's not a good look.
    • 35 Metascore
    • 25 Ann Hornaday
    McCarthy’s willingness to go to the mat notwithstanding, it’s viewers who are likely left feeling punched in the gut.
    • 44 Metascore
    • 25 Ann Hornaday
    About the movie industry’s misguided belief that it can distract the audience from a film’s narrative weaknesses with little more than flash and spectacle. That con might have worked with the rubes once upon a time, but in case Hollywood hasn’t noticed, we’re not in Kansas anymore.
    • 37 Metascore
    • 25 Ann Hornaday
    This mishmash of styles, genres and tonal shifts makes for a dizzying pastiche best described in terms of the many movies it references throughout its nearly 2 1/2-hour running time, from “Little Big Man,” Buster Keaton’s “The General” and the Monument Valley-set canon of John Ford to “Dead Man,” “Rango” and “Pirates of the Caribbean.”
    • 36 Metascore
    • 25 Ann Hornaday
    Even though it earns an R rating for profanity and some risque material, it’s too meek and mild-mannered to qualify as brave, or even slyly subversive.
    • 37 Metascore
    • 25 Ann Hornaday
    The most objectionable thing about Only God Forgives isn’t that it’s shocking or immoral, but that it’s so finally, fatally dull.
    • 52 Metascore
    • 25 Ann Hornaday
    For all its playfulness, the new RoboCop can’t help but lack the novelty of the original’s jolting mixture of dumb-smart irony and visceral pulp.
    • 48 Metascore
    • 25 Ann Hornaday
    When the film isn’t sloppily directed, it’s a series of lazy filmmaking tics, including fetishistic slow-motion shots of blood, water and sweat, as well as sundry dismemberments, impalings and decapitations.

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