For 1,529 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 2.2 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 Undiscovered
Score distribution:
1529 movie reviews
    • 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.
    • 38 Metascore
    • 25 Ann Hornaday
    The November Man turns out to be the classic August movie: a triumph of competence over imagination and schlock over taste. Its highest value lies in reminding filmgoers that fall can’t come too soon.
    • 51 Metascore
    • 25 Ann Hornaday
    It's as if the book itself has been locked up and institutionalized, forced to conform to a system that all but obliterates its own unique personality.
    • Baltimore Sun
    • 48 Metascore
    • 25 Ann Hornaday
    As he proved with his misbegotten A Million Ways to Die in the West, MacFarlane is essentially a guy who’s gotten appallingly lucky on television. He exhibits zero proficiency in cinematic staging and no sense of pace.
    • 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
    As ugly, excessive and vulgar as "The Usual Suspects" was stylish, subtle and suave.
    • 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.
    • 69 Metascore
    • 25 Ann Hornaday
    Aimless and unfocused.
    • 51 Metascore
    • 25 Ann Hornaday
    Ultimately, How to Be Single feels reverse-engineered to justify its ending, which while admittedly gratifying, can’t accurately be described as happy. For that, it would have to be worth the contrivances, cliches and tedium that have gone before.
    • 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.
    • 27 Metascore
    • 25 Ann Hornaday
    A dreary, dismally unfunny excuse for a romantic comedy.
    • 42 Metascore
    • 25 Ann Hornaday
    It leaves audiences in a limbo every bit as torturous as the one the protagonist is in.
    • 30 Metascore
    • 25 Ann Hornaday
    It’s a shame that the beginning of a movement that has come so far, so fast has been reduced to a trite, calculatingly manipulative reenactment.
    • 37 Metascore
    • 25 Ann Hornaday
    Fanaro's script never really hones in on the concept's potential.
    • Baltimore Sun
    • 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.
    • 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.
    • 35 Metascore
    • 25 Ann Hornaday
    With its incomprehensible plot, flat visual style and indecipherably mixed messages (violence is good; no, wait, violence is bad!), this movie seems chiefly to be an excuse to sell even more trading cards.
    • 44 Metascore
    • 25 Ann Hornaday
    With a bench this deep, This Is Where I Leave You should have been a comedy of contemporary manners as wickedly funny as it is poignant. In the hands of Levy, it’s become just another forgettable example of low-stakes Hollywood hackwork at its most bland, banal and snipingly belligerent.
    • 25 Metascore
    • 25 Ann Hornaday
    [A] strained, clunkily orchestrated and dismally retrograde film.
    • 29 Metascore
    • 25 Ann Hornaday
    A hackneyed psycho-sexual thriller with enough awkwardly executed Hitchcock references to qualify as a bad DePalma knock-off.
    • Baltimore Sun
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 25 Ann Hornaday
    A sequel every bit as clumsy, ham-handed, outlandish and laughable as the original was sleek, tough and efficient.
    • 57 Metascore
    • 25 Ann Hornaday
    For all of The Equalizer’s overkill, Washington retains an admirable air of seriousness, embodying McCall as a believable figure of purity and protection, even when he’s going after his opponents with methodical, thoughtfully choreographed sadism.
    • 76 Metascore
    • 25 Ann Hornaday
    Unlike other movies about unpleasant characters, "In the Company of Men," for example, Chuck & Buck doesn't have that sharp observational edge.
    • Baltimore Sun
    • 43 Metascore
    • 25 Ann Hornaday
    This dialogue isn't helped by two actors who look terrific but can barely choke out a word that sounds remotely authentic or spontaneous.
    • Baltimore Sun
    • 17 Metascore
    • 25 Ann Hornaday
    Goes straight to hell, and in this case it is its own handbasket.
    • Baltimore Sun
    • 23 Metascore
    • 25 Ann Hornaday
    Lowbrow humor is one thing...but Love Stinks sinks the bar beyond comprehension.

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