For 1,368 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 2.8 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Amy
Lowest review score: 0 End of Days
Score distribution:
1,368 movie reviews
    • 62 Metascore
    • 50 Ann Hornaday
    For the uninitiated? Man, it's a bummer.
    • 55 Metascore
    • 50 Ann Hornaday
    A modestly funny, little bit dark, occasionally knowing, not entirely cynical comedy that, to the extent that it succeeds at all, does so thanks to James Marsden.
    • 41 Metascore
    • 50 Ann Hornaday
    Like its own protagonists, Kick-Ass 2 can’t decide what it wants to be when it grows up: a vessel for unhinged vengeance and destruction or a meta-critique of those same impulses. In going for both, it winds up being neither.
    • 68 Metascore
    • 50 Ann Hornaday
    The net effect is one of frustration and will surely send Cohen compleatists back to their record collections for relief.
    • 58 Metascore
    • 50 Ann Hornaday
    With visions of "The Public Enemy," "Bonnie and Clyde" and even "The Assassination of Jesse James by the Coward Robert Ford" dancing in its head, the Prohibition-era drama Lawless winds up being equal to none of them -- even if it holds its own as a modestly respectable genre exercise.
    • 64 Metascore
    • 50 Ann Hornaday
    Well, it's better than "The Phantom Menace."
    • Baltimore Sun
    • 49 Metascore
    • 50 Ann Hornaday
    Little more than a sleek, stylish stunt.
    • 59 Metascore
    • 50 Ann Hornaday
    Go For Sisters is worth the time if only to witness the terrific chemistry between Hamilton and Ross, the latter of whom delivers a break-through performance as a woman of uncommon, almost regal, composure, even as she struggles to stay on the righteous path.
    • 73 Metascore
    • 50 Ann Hornaday
    In a textbook example of the have-it-both-ways ethos of self-loathing narcissism, Carell has succeeded in creating a character of old-fashioned decency in a movie that otherwise flouts it at every turn.
    • 74 Metascore
    • 50 Ann Hornaday
    Try as it might to entertain serious notions of manhood, evil and original sin, Prisoners works most effectively as Hollywood hypocrisy at its most sleek, efficient and meretricious. It’s stylish, high-minded hokum.
    • 57 Metascore
    • 50 Ann Hornaday
    Even Mary Tyler Moore's sunny but vulnerable Mary Richards or Tina Fey's Liz Lemon seem more fleshily real than Becky.
    • 70 Metascore
    • 50 Ann Hornaday
    Siegel's depiction of the film's supporting characters too often borders on caricature. By the movie's strained, overheated climax, it's clear that Siegel, in his directing debut, is less interested in his protagonist as a character capable of transformation than as a human petri dish of futility and pathology.
    • 64 Metascore
    • 50 Ann Hornaday
    Garca brings his finely calibrated sense of drama to the subject of adoption, which he handles with characteristic restraint and insight -- at least until the film's maudlin, too-pat finale. That sharp melodramatic turn is a shame, because so much of what has gone before in Mother and Child is of real quality.
    • 50 Metascore
    • 50 Ann Hornaday
    Tends toward the broadest possible takes on slapstick, sophomoric sexuality and post-"Hangover" raunch.
    • 68 Metascore
    • 50 Ann Hornaday
    With its contrived setups, preposterous coincidences and calculated sentimentalism, Crazy, Stupid, Love seems beamed from the same alternate reality as "Larry Crowne." We might enjoy the ride while we're on it, but it will seem like a visit to another planet once we're home.
    • 75 Metascore
    • 50 Ann Hornaday
    Like a gel cap in a sip of orange juice, the psycho-pharmacological thriller Side Effects goes down easily, even if its long-term impact turns out to be barely dis­cern­ible.
    • 61 Metascore
    • 50 Ann Hornaday
    Exhibits the weaknesses and the strengths of what has become a nearly foolproof formula for keeping viewers engaged.
    • 60 Metascore
    • 50 Ann Hornaday
    Dans Paris will delight aficionados familiar with its myriad references, and there's no denying the appeal of Duris and Garrel. But once the source of the boys' primal wound is revealed, the whole enterprise comes to feel as mechanical as the Bon Marche window display that serves as one of the film's plot points.
    • 51 Metascore
    • 50 Ann Hornaday
    An emotional thriller that is by turns contrived and impassioned.
    • 71 Metascore
    • 50 Ann Hornaday
    There're some low New York laughs in Swingers and some nice clothes if you like bad taste, but on the whole, I'd rather be in Philadelphia. At least they know how to make a sandwich in that town!
    • 36 Metascore
    • 50 Ann Hornaday
    The movie has been made with consummate carelessness but with occasional moments of knowing humor.
    • 59 Metascore
    • 50 Ann Hornaday
    Celeste and Jesse Forever engages in Bridget Jones-like comedy of mortification, sending its heroine down a path of self-discovery that ultimately seems more cruel than revelatory.
    • 51 Metascore
    • 50 Ann Hornaday
    Creation is fatally weakened by an excess of pathos; in a Darwinian universe, it would be quickly swallowed up by a leaner, fitter movie.
    • 67 Metascore
    • 50 Ann Hornaday
    A movie sure to reward the filmmaker's most die-hard fans, while doing little to quiet critics who found his work self-conscious to the point of insufferability.
    • 50 Metascore
    • 50 Ann Hornaday
    With Anonymous, director Roland Emmerich gives us "Shakespeare in Luck." Make that "Dumb Luck": In this alternately entertaining and wildly ham-handed speculative romp.
    • 71 Metascore
    • 50 Ann Hornaday
    Surprisingly formulaic. So many scenes seem lifted from a 1950s melodrama, from Blake and Francis' repentent mother (Leslie Ann Warren) to the film's tearjerker of a final scene.
    • 50 Metascore
    • 50 Ann Hornaday
    Closed Circuit is intriguing, even mildly diverting. That might have been fine for another film at another time, but in light of the here and now, this one should have been more.
    • 56 Metascore
    • 50 Ann Hornaday
    The weakest link here is Heard, who possesses the icy cool of Kim Novak but whose character never quite comes into fuller focus than as a hyper-sexualized object of desire.
    • 46 Metascore
    • 50 Ann Hornaday
    At once belabored and muddled movie, whose dreamy visual style and daring sexual material can't elide glaring inconsistencies in tone, plot and logic.
    • 49 Metascore
    • 50 Ann Hornaday
    If I had to sum up Tristan & Isolde for a term paper, I'd say it's like "Braveheart" without the face paint, "Shrek," except the Lord Farquaad character is a sweetheart, and "Freaks and Geeks" because James Franco is so hot, even in Orlando Bloom-y ringlets.

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