For 1,318 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 Last Days in Vietnam
Lowest review score: 0 Alone in the Dark
Score distribution:
1,318 movie reviews
    • 25 Metascore
    • 25 Ann Hornaday
    [A] strained, clunkily orchestrated and dismally retrograde film.
    • 53 Metascore
    • 25 Ann Hornaday
    A film that reduces everything and everyone in its well-worn path to a pretentious trope and, in its final Grand Guignol moments, high camp.
    • 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.
    • 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.
    • 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.
    • 17 Metascore
    • 25 Ann Hornaday
    Goes straight to hell, and in this case it is its own handbasket.
    • Baltimore Sun
    • 49 Metascore
    • 25 Ann Hornaday
    As ugly, excessive and vulgar as "The Usual Suspects" was stylish, subtle and suave.
    • 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
    • 35 Metascore
    • 25 Ann Hornaday
    A mean-hearted, ham-handed and gratuitous effort to exploit it's teenage audience's conviction that, underneath it all, their teachers really. do hate them.
    • 23 Metascore
    • 25 Ann Hornaday
    Lowbrow humor is one thing...but Love Stinks sinks the bar beyond comprehension.
    • 38 Metascore
    • 25 Ann Hornaday
    Just another tepid entry into this year's Death-as-Turn-On Sweepstakes.
    • 49 Metascore
    • 25 Ann Hornaday
    Catherine Breillat's pretentious, meandering, self-indulgent portrait of a libidinously deprived young woman is nothing more than pornography tricked out as feminist parable.
    • 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
    • 27 Metascore
    • 25 Ann Hornaday
    A tired piece of hackery, made only slightly less distasteful by a couple of inspired moments from supporting player Alan Cumming.
    • Baltimore Sun
    • 23 Metascore
    • 25 Ann Hornaday
    The less said the better.
    • 44 Metascore
    • 25 Ann Hornaday
    Ultimately groans under the weight of its own quiet gorgeousness.
    • 69 Metascore
    • 25 Ann Hornaday
    Aimless and unfocused.
    • 24 Metascore
    • 25 Ann Hornaday
    How can we make the entire movie disappear?
    • Baltimore Sun
    • 37 Metascore
    • 25 Ann Hornaday
    Fanaro's script never really hones in on the concept's potential.
    • Baltimore Sun
    • 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.
    • 65 Metascore
    • 25 Ann Hornaday
    Indeed, Scream is better than the average slasher film, as its advertisers insist. And, indeed, it is probably Wes Craven's best film, as they also insist. But that is a little like saying the pimple on the left side of your nose is "better" than the pimple on the right side.
    • 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
    • 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
    • 69 Metascore
    • 25 Ann Hornaday
    Funny Games condescends to its audience like a pretentious, preachifying graduate student in post-modernism. It would help us out of the cultural quagmire we're drowning in, if only we could understand its highly convoluted and exclusive language. [29 May 1998, p.1E]
    • Baltimore Sun
    • 73 Metascore
    • 20 Ann Hornaday
    The good news might be that Huppert wasn't available for Alias Betty, but the bad news is that it didn't stop France from exporting yet one more cold, pretentious, thoroughly dislikable study in sociopathy.
    • 54 Metascore
    • 20 Ann Hornaday
    An exercise in vanity, indulgence and a startling degree of shallowness.
    • 36 Metascore
    • 20 Ann Hornaday
    The wanton fabulistas of Party Monster are as boring and insignificant as the very "normals and drearies" they so contemptuously deride.
    • 31 Metascore
    • 20 Ann Hornaday
    To call Lawrence a poor man's Richard Pryor libels not just Pryor but also the 33 million Americans currently living under the poverty line.
    • 37 Metascore
    • 20 Ann Hornaday
    If you're looking for some good family interspecies entertainment, take the little ones to see "Stuart Little 2" again; in the meantime, you might want to crawl into your cave and sleep through this one.
    • 54 Metascore
    • 20 Ann Hornaday
    The film would be insufferable if it weren't for the total sincerity and commitment of its players.

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