For 1,069 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 3.7 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
Average review score: 63
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 Tideland
Score distribution:
1,069 movie reviews
    • 59 Metascore
    • 63 Ann Hornaday
    An improbably satisfying action comedy.
    • 52 Metascore
    • 63 Ann Hornaday
    Nivola and Breslin make a terrific mismatched pair in a film that often resembles a mash-up of "Crazy Heart" and Sofia Coppola's "Somewhere," which may account for why it too often feels derivative and contrived.
    • 73 Metascore
    • 63 Ann Hornaday
    There's a place in the movies for wish fulfillment, no doubt, including the wish for it all to be over.
    • 71 Metascore
    • 63 Ann Hornaday
    The Girl With the Dragon Tattoo may want it both ways, getting its tawdry kicks while tsk-tsking those who deliver them in real life, but Mara's bristling, unbridled performance gives the film the ballast it needs to pull off that curious, undeniably engrossing, balancing act.
    • 68 Metascore
    • 63 Ann Hornaday
    Sadly, Herge isn't around to see The Adventures of Tintin, Spielberg's crisp, richly rendered animated adaptation, which could be counted as both a success and a failure. Spielberg has brought Tintin to the big screen all right, but not quite to life.
    • 56 Metascore
    • 63 Ann Hornaday
    If viewers are left feeling just as impotent as many of the characters, that may be precisely what Jolie intended for a film that asks nothing more of its audience than to bear witness.
    • 58 Metascore
    • 63 Ann Hornaday
    A surprisingly lush, endearing little film, in which a swelling sense of romanticism thoroughly banishes even the most far-fetched improbabilities.
    • 67 Metascore
    • 63 Ann Hornaday
    If the series's legions of fans miss a detail here or a sub-plot there, they'll still recognize its bones and sinew, especially in Jennifer Lawrence's eagle-eyed heroine Katniss Everdeen.
    • 74 Metascore
    • 63 Ann Hornaday
    This intimate, straightforward, often wrenching portrait of five families dealing with bullying and its aftermath doesn't hold many surprises at a time when such campaigns as "It Gets Better" and special programming on kids' cable networks are bringing the issue to the fore.
    • 51 Metascore
    • 63 Ann Hornaday
    An all-star revue of some of the most physically stunning actors working in Hollywood, Think Like a Man is a pleasure if only on a purely sensory level.
    • 62 Metascore
    • 63 Ann Hornaday
    I liked The Five-Year Engagement, and then I didn't, and then I did.
    • 69 Metascore
    • 63 Ann Hornaday
    The conflicts, magic spells, chase sequences and reconciliations feel strangely by-the-book for a studio so well known for throwing the book out entirely.
    • 66 Metascore
    • 63 Ann Hornaday
    The good news is that Garfield and Stone whip up a warm, convincing froth as two teenagers caught up in a beguiling case of puppy love. The not-so-great news is that by "reboot," the studio means taking audiences once again through every step of Peter's transformation into Spider-Man.
    • 59 Metascore
    • 63 Ann Hornaday
    Savages is a B-movie striving for an A-plus, a decadently energetic summer escape with bloody action, bold visuals and bodacious attitude to burn.
    • 67 Metascore
    • 63 Ann Hornaday
    For a movie so bent on skewering illusions, Ruby Sparks ultimately can't entirely let go of its own.
    • 54 Metascore
    • 63 Ann Hornaday
    While Sparkle doesn't give the audience a lasting memory of Houston's voice at its most soaring, it does manage to provide a lingering sense of loss, mixed with celebration and grim irony.
    • 86 Metascore
    • 63 Ann Hornaday
    By bringing so much thought, verve and visual poetry to bear on two neurotics acting out -- rather than on the larger cultural story they anticipate and embody -- The Master turns out to be more of a self-defeating whimper than the big, important bang it could have been.
    • 55 Metascore
    • 63 Ann Hornaday
    While Tom Tykwer, Andy Wachowski and Lana Wachowski haven't necessarily expanded on Mitchell's book, they've done a superlative job making it legible onscreen. Cloud Atlas deserves praise if only for not being the baggy, pretentious disaster it could have been in other hands.
    • 55 Metascore
    • 63 Ann Hornaday
    The problem with Hyde Park on Hudson isn't its suggestion of FDR's dark side. That complexity, and Murray's spot-on portrayal of a man juggling myriad pressures and demands, from petty to momentous, marks one of the film's greatest strengths. It's that Daisy rarely comes into her own as more than the pliant emotional helpmeet to the Great Man.
    • 63 Metascore
    • 63 Ann Hornaday
    For better or worse, though, this adaptation of the mega-hit Broadway musical fits neither description, largely because it lives in that kinda-sorta, okay-not-great, this-worked-that-didn't in-between for which words like "better" and "worse" fall woefully short.
    • 81 Metascore
    • 63 Ann Hornaday
    Breathes its own refreshing, occasionally demented, life into that time period, albeit in a pulpy, stylized cinematic language more akin to vampire-hunter cartoonishness than "Lincoln's" more classical reserve.
    • 64 Metascore
    • 63 Ann Hornaday
    If this strikes you as vaguely familiar, you’re right: Disconnect is a computer “Crash.”
    • 63 Metascore
    • 63 Ann Hornaday
    The result is a movie that, while no classic, can be credited with giving the audience something a bit more substantive than the usual disposable summer fare.
    • 68 Metascore
    • 63 Ann Hornaday
    Features one of the best endings in recent movie memory — and as we all know, endings are the hardest. If it takes some predictable twists and turns to get there, well then, accept it and move on.
    • 64 Metascore
    • 63 Ann Hornaday
    A big, lumbering, rock ’em, sock ’em mash-up of metallic heft and hyperbole, a noisy, overproduced disaster flick that sucks its characters and the audience down a vortex of garish visual effects and risibly cartoonish action. And you know what? It’s not bad!
    • 74 Metascore
    • 63 Ann Hornaday
    Computer Chess makes an affecting preservationist plea, in this case for a visual and material culture that, while not objectively beautiful, possessed its own form of buttoned-down passion — before it became obsolete by taking over the world.
    • 61 Metascore
    • 63 Ann Hornaday
    A high-low tension runs through Elysium, not only in the narrative itself, but in Blomkamp’s own cinematic language, which can be lofty one moment and gleefully pulpy the next.
    • 76 Metascore
    • 63 Ann Hornaday
    As admirable as Moors’s oblique style is, though, Blue Caprice doesn’t offer the sense of catharsis or closure, let alone new information, that makes it more than a cold, if disciplined, directorial exercise.
    • 62 Metascore
    • 63 Ann Hornaday
    The wispy premise of Newlyweeds, written and directed by Shaka King, is kept afloat by its attractive, youthfully vital cast (along with some well-timed comic relief by way of some familiar faces).
    • 51 Metascore
    • 63 Ann Hornaday
    A film of modest ambition and workmanlike pacing, it breaks little new ground, either in form or content. Then again, that may be the point.
    • 59 Metascore
    • 63 Ann Hornaday
    You don’t go to The Best Man Holiday to deconstruct its flaws. You go for its myriad, adamantly un-cerebral pleasures.
    • 75 Metascore
    • 63 Ann Hornaday
    Everyone hits their marks with gusto and believability in Catching Fire... But the engine of the entire operation is Jennifer Lawrence.
    • 48 Metascore
    • 63 Ann Hornaday
    Sensory pleasures abound in Black Nativity, which is grounded by Forest Whitaker and Angela Bassett’s performances as Langston’s strict, God-fearing grandparents.
    • 61 Metascore
    • 63 Ann Hornaday
    Buried inside this grab bag of hits and misses is a pretty good point about the descent of television news into a miasma of 24/7 speculation, fluff and, most of all, hype.
    • 75 Metascore
    • 63 Ann Hornaday
    The Wolf of Wall Street remains one-note even at is most outré, an episodic portrait of rapaciousness in which decadence escalates into debauchery escalates into depravity — but, miraculously, not death.
    • 52 Metascore
    • 63 Ann Hornaday
    The Monuments Men often lets the schematic gears show, succumbing to threadbare formula and sentimental cliches rather than taut, sophisticated drama.
    • 62 Metascore
    • 63 Ann Hornaday
    About Last Night may be about Daniel and Debbie, but it’s Hart and Hall who make it worth watching. They take palatable but not exceptional cinematic hay and turn it into comic gold.
    • 74 Metascore
    • 63 Ann Hornaday
    Omar feels as trapped and enmeshed in hopelessness as the vicious political cycle it depicts.
    • 64 Metascore
    • 63 Ann Hornaday
    It’s impossible to dismiss von Trier as merely a hype-monger. He’s too damnably good a filmmaker for that. Watching Nymphomaniac is to be reminded of his superb skills in creating vivid worlds and characters on screen.
    • 69 Metascore
    • 63 Ann Hornaday
    Seemingly unable to engage in self-reflection, let alone self-criticism, Rumsfeld is given virtually full rein to control the narrative by Morris, who is far more interested in letting the audience dwell inside his subject’s strangely attenuated moral imagination, rather than challenge it.
    • 45 Metascore
    • 60 Ann Hornaday
    No matter how much fun it is to watch -- and for hard-core movie fans, it is often enormous fun -- there's a certain relief when it stops and we're popped back out to our banal, one-track lives.
    • 40 Metascore
    • 60 Ann Hornaday
    He has a knack for creating vivid characters even in the briefest of vignettes in his live act, many of which are taken from his life, growing up poor in Greenbelt.
    • 58 Metascore
    • 60 Ann Hornaday
    Jagged, unrelenting, claustrophobically intimate.
    • 48 Metascore
    • 60 Ann Hornaday
    The sexual frankness is refreshing. As Suzette and Lavinia banter, their dialogue often suggests how "Sex and the City" might sound 20 years hence.
    • 45 Metascore
    • 60 Ann Hornaday
    It's a warm, if pallid, romantic comedy that may not do much more to burnish Lopez's reputation, but will certainly not bruise it.
    • 55 Metascore
    • 60 Ann Hornaday
    As vivid as many scenes are, there are just as many that seem taken directly out of the Cute Irish Movie notebook.
    • 45 Metascore
    • 60 Ann Hornaday
    At the movie's thoroughly expected conclusion, a visual joke has a bedraggled cat licking at the icing on a wedding cake, but it's really Melanie who gets to have it and eat it, too.
    • 61 Metascore
    • 60 Ann Hornaday
    McDormand is the best thing about Laurel Canyon. She's also the most unfortunate victim of a film that seems unable or unwilling to give even its most intriguing and compulsively watchable character her due.
    • 59 Metascore
    • 60 Ann Hornaday
    Consistently absorbing -- thanks in large part to strong performances from the actors -- but not particularly rewarding.
    • 57 Metascore
    • 60 Ann Hornaday
    Some viewers will miss the warmth and boisterous family dynamics of its predecessors.
    • 77 Metascore
    • 60 Ann Hornaday
    The film is ultimately too self-regarding, too smug to be transcendent itself.
    • 72 Metascore
    • 60 Ann Hornaday
    Unfolds as a series of meticulous tableaux vivants, but like those parlor pastimes, it lacks physical verve and a compelling emotional charge.
    • 73 Metascore
    • 60 Ann Hornaday
    Will probably appeal most to hard-core fans of Japanese animation and its wide-eyed style, both visual and philosophical.
    • 47 Metascore
    • 60 Ann Hornaday
    Even within what often looks like a self-indulgent exercise in humiliation, pain and gratuitous gore, there is no denying the moments of genuine and powerful feeling in The Passion of the Christ -- some of which, by the way, evoke Jesus's most profound teachings of Jewish principles.
    • 67 Metascore
    • 60 Ann Hornaday
    This is a carefully conceived, thoughtfully orchestrated effort in taste and restraint that ultimately is too restrained and tasteful.
    • 72 Metascore
    • 60 Ann Hornaday
    Will probably appeal only to the most committed of Leigh fans.
    • 49 Metascore
    • 60 Ann Hornaday
    Might provide a much-needed fix for Mac's most ardent fans, but they'll have to wait for a star vehicle that fully exploits the range of his comic gifts.
    • 58 Metascore
    • 60 Ann Hornaday
    Manages to be a diverting and funny character study, at least most of the time.
    • 66 Metascore
    • 60 Ann Hornaday
    On the Outs has its rewards, especially in the mesmerizing performance of Marte.
    • 71 Metascore
    • 60 Ann Hornaday
    Fellowes has brought intelligence and control to the eternally vexing question of whether the right thing is always the good thing.
    • 52 Metascore
    • 60 Ann Hornaday
    It doesn't open up much new territory, except to eschew much of the dark, frank sexuality that has characterized such recent sexual coming-of-age movies as "Mysterious Skin." Instead, Bardwell offers a cheerful, if sometimes strenuously earnest, take on a subject that seems overdue for a lighthearted touch.
    • 62 Metascore
    • 60 Ann Hornaday
    If Loggerheads sometimes feels too forced, it features some unforgettable performances, especially by Hunt, an accomplished comedienne who makes an impressive debut as a dramatic lead here.
    • 70 Metascore
    • 60 Ann Hornaday
    Most revelatory here is Malli, who defies the stereotype of submission and subservience and emerges as a woman of self-possession and substance. (The earthily beautiful Bat-Sheva Rand infuses the character with a generous dollop of her own zaftig sensuality.)
    • 60 Metascore
    • 60 Ann Hornaday
    The movie goes off the rails only when the filmmaker inadvertently legitimizes the Protocols' loony philosophical heirs by interviewing a New York medical examiner and a widow about the remains of one of 9/11's Jewish victims.
    • 72 Metascore
    • 60 Ann Hornaday
    Unfortunately, for all its good music and admirable vocal impersonations, Walk the Line slides -- very, very slowly -- downhill.
    • 70 Metascore
    • 60 Ann Hornaday
    The first two-thirds of Joyeux Noel are strangely inert, but the film ends with a moving and surprisingly sophisticated meditation on the definition of moral duty.
    • 68 Metascore
    • 60 Ann Hornaday
    The film's unforgettable stars are the beauty academy's students, women who have survived tribal warfare, Soviet invasion, Muslim tyranny, American bombs, patriarchal families and even Western good intentions with extraordinary grace and fortitude.
    • 56 Metascore
    • 60 Ann Hornaday
    What might have been a fascinating, intimate portrait turns into something much less compelling when Clark tries to impose a sex-and-action-packed narrative on the proceedings.
    • 77 Metascore
    • 60 Ann Hornaday
    Make no mistake: The War Tapes is not an overtly political film. It appears to grind no partisan ax nor score either red or blue points. Whether viewers support the war or not -- or find themselves somewhere in the mushy middle -- this documentary won't fit comfortably into the pigeonholes of their preconceptions.
    • 63 Metascore
    • 60 Ann Hornaday
    There's too much slow-mo and too many music cues, but there's a low-key buzz to Wahlberg's scenes with Greg Kinnear.
    • 57 Metascore
    • 60 Ann Hornaday
    Say this for Confetti: It's a crowd-pleaser. If, that is, the crowd is composed of people who have never seen a movie by Christopher Guest or a TV show starring Ricky Gervais.
    • 62 Metascore
    • 60 Ann Hornaday
    Often funny (just listen to Becky fulminate against Harry Potter), but it's also a scary.
    • 57 Metascore
    • 60 Ann Hornaday
    Volckman and Miance are undoubtedly superb draftsmen; what they need is a writer of comparable skill.
    • 49 Metascore
    • 60 Ann Hornaday
    With a slick visual style similar to "Monster House", Open Season trots out tropes that recent animated classics have done with more wit and smarts.
    • 56 Metascore
    • 60 Ann Hornaday
    For all its contrivances, Breaking and Entering has its finger on the pulse of contemporary London life and possesses its share of fleeting delights, chief among them the sublime Robin Wright Penn as Law's live-in girlfriend.
    • 73 Metascore
    • 60 Ann Hornaday
    The dour, downbeat story eventually spirals into grisly Grand Guignol and contrivance. Still, Gordon-Levitt is superb, and Jeff Daniels delivers a wry and wily performance as Pratt's blind roommate.
    • 50 Metascore
    • 60 Ann Hornaday
    An uneven, sophomoric and only fitfully funny omnibus of skits, The Ten is one of those silly-on-purpose ensemble exercises that must have been wildly fun to make.
    • 66 Metascore
    • 60 Ann Hornaday
    A movie that soars whenever Child is on the screen and sags when Powell shows up.
    • 51 Metascore
    • 60 Ann Hornaday
    Within this structurally baggy weepie, at least two perfectly good movies fight to break free, one a provocative legal thriller, the other a melodrama.
    • 47 Metascore
    • 60 Ann Hornaday
    Admittedly, this is the stuff of lurid adolescent distraction, not great cinema. Jennifer's Body is strictly a niche item but provides a goofy, campy bookend to "Drag Me to Hell" on the B-movie shelf. Watch it, forget it, move on.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a downbeat, indulgent and self-consciously quirky little movie.
    • 32 Metascore
    • 50 Ann Hornaday
    A fascinating, vexing, indulgent, visionary, pretentious, mesmerizing pop culture curio.
    • 36 Metascore
    • 50 Ann Hornaday
    The movie has been made with consummate carelessness but with occasional moments of knowing humor.
    • 66 Metascore
    • 50 Ann Hornaday
    Rather than sparkle and dance, it plods.
    • 57 Metascore
    • 50 Ann Hornaday
    May not be perfect but must be given credit for all that it does right.
    • 73 Metascore
    • 50 Ann Hornaday
    It resides in that cinematic middle ground of not-bad, not-great, just okay.
    • 61 Metascore
    • 50 Ann Hornaday
    If Quitting isn't worthy of affection exactly, it's worthy of respect.
    • 71 Metascore
    • 50 Ann Hornaday
    Whether the entire production comes off as classy or cloying depends entirely on the viewer's mood.
    • 45 Metascore
    • 50 Ann Hornaday
    Both lead players are appealing and attractive enough to make an otherwise tepid movie at least un-excruciating.
    • 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.
    • 45 Metascore
    • 50 Ann Hornaday
    At once daring and hackneyed, absorbing and off-putting, a triumph of one sort and, more lastingly, a failure of another.
    • 34 Metascore
    • 50 Ann Hornaday
    It's perfectly palatable family fare for a long weekend.
    • 46 Metascore
    • 50 Ann Hornaday
    An unobjectionable if uninspired updating of a classic family story for the minivan generation.
    • 44 Metascore
    • 50 Ann Hornaday
    Firmly ensconced among the forgettables in Stiller's career, a generic romantic comedy of the one-from-column-A, one-from-column-B variety.
    • 37 Metascore
    • 50 Ann Hornaday
    A thinly written, hoarily cliched story that serves mostly as connective tissue between the movie's chief draw, its dazzling dance sequences.
    • 48 Metascore
    • 50 Ann Hornaday
    Possesses an undeniable heart. The bad news is that it will still be buried underneath layers of stale Sandlerisms tomorrow, and the next day, and the next.
    • 39 Metascore
    • 50 Ann Hornaday
    Has its modest charms.
    • 31 Metascore
    • 50 Ann Hornaday
    One of those cinematic curiosities that almost always fade quickly, but that will usually find a devoted cult audience once it hits that peculiar Elysian Field known as the aftermarket.
    • 65 Metascore
    • 50 Ann Hornaday
    The skits that comprise Coffee and Cigarettes aren't fully realized short pieces as much as riffs or fragments; their appeal is mostly in their stars.
    • 33 Metascore
    • 50 Ann Hornaday
    Only fitfully funny, and it makes up for what it lacks in genuine humor by overdosing viewers with outrageous sexuality and outsize stereotypes.
    • 38 Metascore
    • 50 Ann Hornaday
    Threatens to become a serious movie, but they're quickly overwhelmed by another indecipherable rampage or outsize visual effect.
    • 55 Metascore
    • 50 Ann Hornaday
    Modestly amusing teen summer comedy.
    • 58 Metascore
    • 50 Ann Hornaday
    Paints an often grave but sometimes hilarious picture of a hugely powerful network.
    • 59 Metascore
    • 50 Ann Hornaday
    The best thing about all of this is Bettany.
    • 43 Metascore
    • 50 Ann Hornaday
    An uneasy mix between "Eternal Sunshine of the Spotless Mind" and the "The X-Files," and one not nearly as smart as either.
    • 55 Metascore
    • 50 Ann Hornaday
    At its best, Woman Thou Art Loosed conveys the unfathomable meaning behind those words.
    • 66 Metascore
    • 50 Ann Hornaday
    Good points aside, In Good Company is a bland, occasionally phlegmatic pastiche of cliches and dull encounters.
    • 35 Metascore
    • 50 Ann Hornaday
    Jigh class briefly gives way to high camp, which then itself dissipates to an anticlimactic thud.
    • 59 Metascore
    • 50 Ann Hornaday
    Often seems less like a fully realized film than an illustrated story, its paragraphs reduced to neatly contrived set pieces.
    • 56 Metascore
    • 50 Ann Hornaday
    If anything, Fever Pitch will give Bosox fans one more chance to relive, in big-screen glory, those fleeting, flavorsome days.
    • 65 Metascore
    • 50 Ann Hornaday
    Its pedagogical tone perfectly suits it for viewing in classrooms.
    • 70 Metascore
    • 50 Ann Hornaday
    A good as the performances are, and as dutiful as Nolan has been in preserving the Kane legacy in Batman Begins, there's something joyless about the enterprise.
    • 63 Metascore
    • 50 Ann Hornaday
    Although it's often difficult to discern amid a schematic plot and overheated, sanctimonious denouement, an undeniable reality underlies Cronicas.
    • 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.
    • 49 Metascore
    • 50 Ann Hornaday
    Mary McDonnell, as Nat's patient wife, provides too-brief clarity as Nat goes off the rails, finally taking the movie with him.
    • 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.
    • 43 Metascore
    • 50 Ann Hornaday
    This would have made a fascinating film if Freedomland were one movie. Instead, it turns into several movies, none fully realized. What could have been an unusually smart police procedural becomes a sprawling, overwrought melodrama that itself morphs into a sort of spiritual romance.
    • 65 Metascore
    • 50 Ann Hornaday
    Fake or not, Unknown White Male doesn't live up to its tantalizing potential.
    • 51 Metascore
    • 50 Ann Hornaday
    Aquamarine is better than nothing for its woefully underserved audience.
    • 46 Metascore
    • 50 Ann Hornaday
    The most controversial thriller of the year turns out to be about as exciting as watching your parents play Sudoku.
    • 58 Metascore
    • 50 Ann Hornaday
    Ratner makes a hash of the story and characters his predecessor brought to such complex, sympathetic life, delivering a pumped-up exercise in mayhem, carnage and blunt-force trauma.
    • 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.
    • 68 Metascore
    • 50 Ann Hornaday
    Rather than taking viewers on a twisty, provocative journey through a mazelike meditation on appearance and reality, The Illusionist finally just sits there, looking like a very well-produced pilot for PBS's "Mystery!" series. It's a sophisticated snooze.
    • 43 Metascore
    • 50 Ann Hornaday
    Trust the Man quickly begins to feel hopelessly derivative of other, better movies.
    • 49 Metascore
    • 50 Ann Hornaday
    Pereira goes in for lots of time shifts and split screens, piling on the contrivances like so many costume baubles when a single string of pearls would do.
    • 52 Metascore
    • 50 Ann Hornaday
    Lives up to Tarantino's imprimatur, both in its cheesy grind house aesthetic and its occasional forays into brilliant, bravura filmmaking.
    • 52 Metascore
    • 50 Ann Hornaday
    Instead of a crackling good movie in which "The Longest Yard" meets, say, "The Bad News Bears," director Phil Joanou instead decided to make Gridiron Gang a lugubrious tutorial on the importance of being a winner.
    • 35 Metascore
    • 50 Ann Hornaday
    If Simon's desire to feed the better angels of our nature is admirable, it would be nice if he could do it with better movies.
    • 49 Metascore
    • 50 Ann Hornaday
    As skillful an artist as Range clearly is, he has gone to an awful lot of trouble to make a painfully obvious point about threats to civil liberties in a post-9/11 world.
    • 68 Metascore
    • 50 Ann Hornaday
    Things take a nasty turn in the film's bilious third act, suggesting that Guest's deepest gift -- his expansive humanism -- stops at the studio gates.
    • 55 Metascore
    • 50 Ann Hornaday
    Jack Black and Kyle Gass bring characters they created for the HBO program "Mr. Show With Bob and David" to the big screen with mixed success, depending on the age, gender and degree of inebriation of the filmgoer.
    • 52 Metascore
    • 50 Ann Hornaday
    This drab exercise in glum piety slumps where it should soar, sapping the story of its mystery and transcendence with an overriding sense of literality.
    • 76 Metascore
    • 50 Ann Hornaday
    Even with Hudson's triumphant arrival and an overall fizzy mood of singing, dancing, pop nostalgia and camp, Dreamgirls is an uneven crowd pleaser.
    • 72 Metascore
    • 50 Ann Hornaday
    If anything, it's worth watching as yet another example of Lynch's extraordinary collaboration with Dern. It may be overstating things to call her performance heroic, but it's nothing if not brave, as she dares to embody Lynch's most brutal impressions of Hollywood -- not as a dream factory, but as the place where dreams come to die.
    • 66 Metascore
    • 50 Ann Hornaday
    Never quite breaks out of its talky inertia.
    • 39 Metascore
    • 50 Ann Hornaday
    Unfortunately, Provoked possesses the tiny production values and schmaltzy music of a prime-time special, despite its ensemble of terrific actors.
    • 61 Metascore
    • 50 Ann Hornaday
    If Broken English occasionally falls prey to a bit too much self-conscious lethargy, it's still a welcome chance to see Posey at her flighty, edgy best.
    • 45 Metascore
    • 50 Ann Hornaday
    High-grade cheese, the sort of highly pitched melodrama that in the 1950s would have been the stuff of a lurid, lavishly staged Douglas Sirk picture.
    • 40 Metascore
    • 50 Ann Hornaday
    A throwback to 1970s blaxploitation flicks, with a Latin accent, Illegal Tender would be a brassy, sassy guilty pleasure if it were more, well, pleasurable.
    • 57 Metascore
    • 50 Ann Hornaday
    First-time director Chris Gorak is no Rod Serling, and in his hands the enterprise tends toward the lurid, especially after his nifty third-act twist.
    • 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.
    • 54 Metascore
    • 50 Ann Hornaday
    When the tone goes from daffy to dour in the course of a harrowing plot point, the story becomes more forced than fierce.
    • 62 Metascore
    • 50 Ann Hornaday
    It's all too zany and madcap and Woody Allen-redux to be remotely credible, but Ira & Abby turns out to be witty and winning, in large part because of its cast.
    • 55 Metascore
    • 50 Ann Hornaday
    Reese Witherspoon paces and cries through Rendition in a performance that does as much a disservice to her talent as the movie does to the issues it raises.
    • 65 Metascore
    • 50 Ann Hornaday
    Filmgoers haven't seen a family this neurotically enmeshed since the last Diane Keaton movie.
    • 58 Metascore
    • 50 Ann Hornaday
    The movie doesn't offer much new to anyone familiar with Carter.
    • 49 Metascore
    • 50 Ann Hornaday
    Little more than a sleek, stylish stunt.
    • 51 Metascore
    • 50 Ann Hornaday
    An emotional thriller that is by turns contrived and impassioned.
    • 63 Metascore
    • 50 Ann Hornaday
    The best part of Walk Hard, oddl enough, is the music. I might not care to see Walk Hard" a second time, but I can't wait to hear it again.
    • 41 Metascore
    • 50 Ann Hornaday
    Possesses its share of modest laughs, many of them delivered by Ted Danson as Bridget's bemused husband. But director Callie Khouri (best known for writing "Thelma & Louise") doesn't bring the dash needed to make this a comic heist on a par with "Ocean's Eleven."
    • 47 Metascore
    • 50 Ann Hornaday
    Katherine Heigl makes an official bid for America's Sweetheart in her sophomore effort, 27 Dresses, a romantic comedy that -- despite her undeniable, apple-cheeked appeal -- sags like a day-old bouquet.
    • 41 Metascore
    • 50 Ann Hornaday
    Ice Cube and Tracy Morgan are the nominal stars of First Sunday, but it's Katt Williams who steals the show in this by turns trite and mildly amusing B-comedy.
    • 32 Metascore
    • 50 Ann Hornaday
    From its very first scene, Untraceable isn't the sophisticated, brainy thriller it so nearly could have been, but just another movie about a serial murderer.
    • 35 Metascore
    • 50 Ann Hornaday
    It's difficult to know whom to root for.
    • 62 Metascore
    • 50 Ann Hornaday
    For the uninitiated? Man, it's a bummer.
    • 41 Metascore
    • 50 Ann Hornaday
    Owen Wilson phones it in with Drillbit Taylor, a by-the-numbers teen comedy.
    • 63 Metascore
    • 50 Ann Hornaday
    For all the energy and personality of its subjects, Planet B-Boy tends to drag, especially toward the competition finals.
    • 57 Metascore
    • 50 Ann Hornaday
    It's impossible to tell whether the film's ending is happy because it's happy or because it's ending.
    • 55 Metascore
    • 50 Ann Hornaday
    For those who crave mannerisms and shtick and like their jokes set up and knocked out with plenty of arrows and quote marks, Baby Mama may fall flat. But audiences alive to the modest charms of its take on female friendship will be rewarded with at least a few quiet chuckles.
    • 79 Metascore
    • 50 Ann Hornaday
    It succeeds only fitfully. Toggling between Stark's impish goatee and Iron Man's full-metal body condom, and amid so many generic fireballs, kill shots and earsplitting thumps, bumps and crunches, the film finally collapses under its own weight.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a movie guaranteed to please crowds, if only because it insists on their affection so strenuously.
    • 51 Metascore
    • 50 Ann Hornaday
    A slight, modestly funny comedy.
    • 58 Metascore
    • 50 Ann Hornaday
    Thank heaven for Judi Dench, whose M provides Quantum of Solace its sole quantum of peppery brio.
    • 62 Metascore
    • 50 Ann Hornaday
    Baghead provides a diverting showcase for actors you may never have heard of but who deserve a shot at fame and fortune.
    • 72 Metascore
    • 50 Ann Hornaday
    Pirouettes along a beguiling but treacherous line between horror and whimsy.
    • 36 Metascore
    • 50 Ann Hornaday
    It's lame, corny, Ed Woodishly amateurish -- all of which is as lovable as the big lug himself.
    • 61 Metascore
    • 50 Ann Hornaday
    Epitomizes the best and the worst of what animated filmmaking has become in an era dominated on the one hand by ever more sophisticated computerized imagery and, on the other, by the grasping, increasingly grating desire to be hip.
    • 40 Metascore
    • 50 Ann Hornaday
    Although the new version, which stars Keanu Reeves, is likely to make audiences pine for the meta-irony of "Mystery Science Theater 3000," it's not a complete failure.
    • 69 Metascore
    • 50 Ann Hornaday
    The result is that Revolutionary Road is a hard movie to love. Plenty of people will appreciate the hopelessness, but they might wish for a little less emptiness.
    • 70 Metascore
    • 50 Ann Hornaday
    Often astonishingly beautiful, but in a way that's the problem: You wonder what visionaries such as Tim Burton or Michel Gondry might have done with the material. As it is, "Benjamin Button" is little more than "Gump" by way of "Dorian Gray." It plays too safe when it should be letting its freak flag fly.
    • 43 Metascore
    • 50 Ann Hornaday
    Exerts an unmistakable appeal, thanks to an absorbing story and fine performances from Morris Chestnut and Taraji P. Henson.
    • 39 Metascore
    • 50 Ann Hornaday
    That none of the protagonists earns the audience's sympathy is more likely a failure of the real-life characters rather than the actors, who deliver fine performances -- especially Rhys, who seems to be channeling Richard Burton channeling Dylan Thomas at his most manipulatively loutish.
    • 56 Metascore
    • 50 Ann Hornaday
    Has bells and whistles, superb technical sophistication and dazzling visual effects, sound, fury and Reese Witherspoon. What it doesn't have is heart. Like so many vehicles that have popped out from the DreamWorks Animation snark tank, Monsters vs. Aliens is too clever by half.
    • 55 Metascore
    • 50 Ann Hornaday
    A choppy and occasionally unsure film, one that doesn't achieve the superb tonal control of "The Ice Storm," but that certainly doesn't represent an unqualified disaster on a par with Lee's first attempt at the western, "Ride With the Devil."
    • 53 Metascore
    • 50 Ann Hornaday
    If parents feel like they've seen much of Shorts before, its celebration of mayhem and restless, thrill-seeking vibe will absorb young viewers, especially as the boredom of late summer begins to set in.
    • 69 Metascore
    • 50 Ann Hornaday
    Isn't about history or war, or people and their problems, or anything of substance or meaning. It's a movie about other movies. For all its visual bravura and occasional bursts of antic inspiration, it feels trivial, the work of a kid who can't stop grabbing his favorite shiny plaything.
    • 54 Metascore
    • 50 Ann Hornaday
    Yi's self-regarding, ironic tone makes the whole thing feel like a setup, designed more as an indie-chic calling card than a sincere inquiry.
    • 61 Metascore
    • 50 Ann Hornaday
    Exhibits the weaknesses and the strengths of what has become a nearly foolproof formula for keeping viewers engaged.
    • 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.
    • 49 Metascore
    • 50 Ann Hornaday
    Antichrist finally embodies the contradiction of von Trier: He's a gifted, even visionary, artist mired in his own pulp pretentiousness.
    • 63 Metascore
    • 50 Ann Hornaday
    A movie that feels written rather than lived; from "The Catcher in the Rye" to "Rushmore," it's a story we've seen in better versions before.
    • 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.
    • 45 Metascore
    • 50 Ann Hornaday
    For real sparks keep a look out for Jared Harris in a supporting role that injects a mildly diverting note of corporate intrigue into an otherwise unsurprising procedural.
    • 51 Metascore
    • 50 Ann Hornaday
    Still, if for the most part Death at a Funeral is as tame as the tasteful parlor where most of its action takes place, it manages to explode one taboo, in casting mostly black actors in roles originally played by whites.
    • 57 Metascore
    • 50 Ann Hornaday
    "Everything is achievable through technology," a character says more than once in Iron Man 2. Not so.
    • 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.
    • 47 Metascore
    • 50 Ann Hornaday
    A thoroughly unnecessary but nonetheless satisfying adaptation of the cheeseball 1980s TV series.
    • 62 Metascore
    • 50 Ann Hornaday
    Micmacs brings an infectious note of caprice to the old-fashioned caper film.
    • 43 Metascore
    • 50 Ann Hornaday
    Lush, extravagant, sad and touching, Love in the Time of Cholera still feels weirdly insubstantial when all the febrile passion has abated. Like a fever it breaks, passes and is forgotten.
    • 56 Metascore
    • 50 Ann Hornaday
    Funny? Scary? Entirely logical? It all depends on your point of view, of course, and "What's the Matter With Kansas?" isn't likely to move viewers one way or another.
    • 61 Metascore
    • 50 Ann Hornaday
    An action thriller that adamantly refuses to deliver action or thrills, instead engaging in a brand of arty, self-conscious formalism rarely seen outside repertory theaters or cinema-studies classrooms.
    • 67 Metascore
    • 50 Ann Hornaday
    Even with all this talent and earnestness, though, Nowhere Boy still feels indulgent, slight and almost instantly forgettable.
    • 58 Metascore
    • 50 Ann Hornaday
    Say this about Stone: When it's good, it's very good. And this twisty, atmospheric drama is at its best when Edward Norton takes center screen as the title character.
    • 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.
    • 52 Metascore
    • 50 Ann Hornaday
    It plods along dutifully, with the occasional zigzag into contrivance, tidy coincidence and outright preposterousness.
    • 70 Metascore
    • 50 Ann Hornaday
    Like Charlie Chaplin and Buster Keaton before him, Helms plays a lamb trotting hopefully through the abattoir, blessedly unaware of the blades hanging just above his head.
    • 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.
    • 62 Metascore
    • 50 Ann Hornaday
    As affectionately as Taylor has brought The Help to the screen, and as gratifying as it is to watch Davis and Spencer bring Aibileen and Minny to palpable, fully rounded life, their narrative, like "The Blind Side" a few years ago, is structured largely around their white female benefactor.
    • 60 Metascore
    • 50 Ann Hornaday
    There are times when Our Idiot Brother possesses a loping, genial sweetness. But it lacks conviction, and it doesn't hold a beeswax candle to such similarly themed films as "You Can Count on Me" and "Momma's Man."
    • 57 Metascore
    • 50 Ann Hornaday
    There's a lovely moment with Mirren and John Hurt that helps send Brighton Rock toward its final note of tenderness. With so much style to burn, Joffe handles the tinge of Greene-ian ambivalence just right.
    • 47 Metascore
    • 50 Ann Hornaday
    Restless is saved from movie-of-the-week soppiness by its plucky lead actors; by now we assume (correctly) that Wasikowska will infuse her character with lucid, clear-eyed warmth.
    • 53 Metascore
    • 50 Ann Hornaday
    Somehow, the comic chemistry never seems to ignite in The Big Year.
    • 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.
    • 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.
    • 54 Metascore
    • 50 Ann Hornaday
    Can a performance be too good? Meryl Streep disappears so uncannily into former British prime minister Margaret Thatcher in The Iron Lady that her performance overpowers the movie it's in - a perfectly executed triple axel that renders everything else just featureless ice.
    • 53 Metascore
    • 50 Ann Hornaday
    Between this film and last summer's "Horrible Bosses," Aniston's coyness - starring in explicit movies without having to be explicit herself - seems to be becoming her stock in trade. It's not a particularly commendable one, and Wanderlust does little to disprove that she's still a star more suited to TV rather than the big screen.
    • 55 Metascore
    • 50 Ann Hornaday
    Any resemblance to last year's breakout comedy hit "Bridesmaids" is purely intended in a film that seeks the same kind of liberated raunch but too often succumbs to talky, edgy-for-its-own sake glibness.
    • 60 Metascore
    • 50 Ann Hornaday
    With its shambling, felicitously contrived structure and Fellini-esque climax, it's some kind of Jungian slacker fable.
    • 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.
    • 41 Metascore
    • 50 Ann Hornaday
    Dogs and the women who love them form the warm and gooey center of Darling Companion, Lawrence Kasdan's fitfully amusing comedy-drama.
    • 65 Metascore
    • 50 Ann Hornaday
    All the God-talk and philosophical musings about morality and "meeting our makers" aside, Prometheus is primarily about delivering those visceral, terrifying jolts. That it does so without generating the taut suspense and moody atmosphere of its antecedents qualifies as one of its greatest failings.
    • 86 Metascore
    • 50 Ann Hornaday
    Maybe the best way to describe Beasts of the Southern Wild is faux-k art. Even Hushpuppy's name suggests an author more interested in the folk- and foodways of a culture-with-a-capital-C than the people who comprise it. Too often, she and her peers are presented as curios to be exhibited rather than as fully realized -- if resolutely un-mythic -- human beings.
    • 36 Metascore
    • 50 Ann Hornaday
    The Watch takes the same ethos of male bonding, obsession with sex and sardonic violence that has proved so profitable in recent years on yet another summer spin. The tires may be in need of changing pretty soon, but for now the jalopy still runs.
    • 50 Metascore
    • 50 Ann Hornaday
    Tends toward the broadest possible takes on slapstick, sophomoric sexuality and post-"Hangover" raunch.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Ann Hornaday
    Compliance is an extraordinarily assured, well-made drama, signaling a promising career for Zobel, an adroit filmmaker with a talent for taut pacing and staging. But it also fails its first test, which is that the audience believe every word of it.
    • 79 Metascore
    • 50 Ann Hornaday
    Never lets viewers fully inside Erik and Paul's world, a reticence that isn't helped by the actors' fey, restrained-to-a-fault performances. That and a frustratingly episodic structure make what might have been a raw and inspiring portrait of commitment and boundaries a surprisingly uninvolving, arms-length enterprise. Keep the Lights On lets go just when it should be holding you tighter.
    • 58 Metascore
    • 50 Ann Hornaday
    Trouble With the Curve presents viewers with a frustrating change-up: What promised to be a modest, refreshingly unforced little comedy turns out to be low energy to a fault.
    • 66 Metascore
    • 50 Ann Hornaday
    The film also begins to feel like a case of a director getting to revel in the very thing he's reviling.
    • 86 Metascore
    • 50 Ann Hornaday
    Scrappy and unsubtle where "We Were Here" is elegant and nuanced, How to Survive a Plague isn't nearly as formally beautiful as its predecessor.
    • 55 Metascore
    • 50 Ann Hornaday
    For all his creepy tendencies, Hitchcock is portrayed mostly sympathetically in Hitchcock, in which Sir Anthony Hopkins plays the corpulent British auteur with a combination of hauteur and playfulness.
    • 64 Metascore
    • 50 Ann Hornaday
    Killing Them Softly possesses a modicum of swagger and style, even as it perpetuates some of the crime genre's more tedious cliches, from slow-motion savagery to facile cynicism.
    • 55 Metascore
    • 50 Ann Hornaday
    Despite their Everyman appeal, Damon and Krasinski don't create much by way of emotional investment, instead becoming mirror images of their most mild-mannered, white-bread selves.
    • 41 Metascore
    • 50 Ann Hornaday
    It's Walken who grounds every scene with the kind of watchful honesty that has become his brand in late-career.
    • 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.
    • 40 Metascore
    • 50 Ann Hornaday
    Intriguing, if uneven, thriller.
    • 44 Metascore
    • 50 Ann Hornaday
    A generic, fitfully funny mainstream comedy that doesn’t nearly get the best from its name-brand players but doesn’t qualify as a desecration, either.
    • 41 Metascore
    • 50 Ann Hornaday
    Olympus Has Fallen at least possesses the frisson of timeliness amid otherwise hoary action-movie cliches.
    • 62 Metascore
    • 50 Ann Hornaday
    A frantic, occasionally funny, finally enervating bricolage of special effects, explosive set pieces, sardonic one--liners and notional human emotions, this branch of the Marvel franchise tree feels brittle and over--extended enough to snap off entirely.
    • 60 Metascore
    • 50 Ann Hornaday
    At Any Price finally hinges on tragedies, reversals and moral ambiguities of Shakespearean proportions, but they’re delivered ploddingly rather than as the intricate parts of an inevitable whole. At Any Price ultimately suffers from the very phenomenon it laments: Like Henry Whipple’s farm, it feels more mechanistic than organic.
    • 55 Metascore
    • 50 Ann Hornaday
    Childlike, fetishistic and painfully literal, Luhrmann’s experiment proves once again that it’s Fitzgerald’s writing — not his plot, his characters or his grasp of material detail — that has always made “Gatsby” great.
    • 61 Metascore
    • 50 Ann Hornaday
    Without the benefit of deeper psychological spadework, The Kings of Summer stays resolutely on the surface, resembling more of an extended sitcom than a memorable movie on a par with the films it references.
    • 67 Metascore
    • 50 Ann Hornaday
    Rogen and his friends may have set out to celebrate virtue at its uneasiest, but they’re clearly still most at home with earthly delights.
    • 37 Metascore
    • 50 Ann Hornaday
    A picaresque romance of self-discovery that delivers a near-constant flow of small delights until veering too far into screwball preposterousness.
    • 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.
    • 51 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.
    • 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.
    • 34 Metascore
    • 50 Ann Hornaday
    Glossy, flossy and blithely secure in its own cheerfully fake worldview, Baggage Claim bypasses the intellect entirely, happy to satisfy on a silly, screwball, wish-fulfillment level. It could have been so much better, but for racking up undemanding escapist flyer miles, it’ll do.
    • 49 Metascore
    • 50 Ann Hornaday
    As a piece of filmed entertainment, The Fifth Estate shows why things like authorial point of view and visual sensibility are so essential in bringing such stories to life. Unlike its most obvious predecessor, “The Social Network,” this film doesn’t have much of either, and the weakness shows.
    • 57 Metascore
    • 50 Ann Hornaday
    Macdonald (“The Last King of Scotland,” “State of Play”) does a passable job of evoking post-apocalyptic atmosphere in How I Live Now, although the film suffers from uneven tone — is it a teen romance or wartime adventure? — and, ultimately, a regrettable lack of focus.
    • 64 Metascore
    • 50 Ann Hornaday
    Despite its austere beauty, elegant triptych-like structure and faultlessly disciplined performances, Camille Claudel 1915 still raises more questions than it answers.
    • 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.
    • 54 Metascore
    • 50 Ann Hornaday
    The unevenness of The Secret Life of Walter Mitty, and Stiller’s recessive characterization of the title character, keep it from being an all-out crowd-pleaser.
    • 57 Metascore
    • 50 Ann Hornaday
    Branagh, who proved his action bona fides with “Thor,” does an inarguably competent job of choreographing a modestly intelligent espionage thriller, even if it’s impossible to identify anything new he’s bringing to an already groaning table.
    • 52 Metascore
    • 50 Ann Hornaday
    It’s difficult to believe a word of Labor Day, but then again you don’t have to in order to luxuriate in Winslet and Brolin’s bubbling, steaming chemistry.
    • 60 Metascore
    • 50 Ann Hornaday
    There’s no doubt that Villeneuve can make a movie; he’s developed a strong cinematic voice. It’s tantalizing to imagine what he could do with a really fine story.
    • 60 Metascore
    • 50 Ann Hornaday
    Even at its most depraved, Joe’s journey, and her confession to Seligman, are still compelling enough to propel Volume II until the story becomes hopelessly over-plotted.
    • 55 Metascore
    • 40 Ann Hornaday
    If listing the cast of Love Actually is exhausting, it's even more tiring to watch it.
    • 52 Metascore
    • 40 Ann Hornaday
    A slick, earnest, ultimately inert adaptation of the eponymous book of the Bible.
    • 47 Metascore
    • 40 Ann Hornaday
    Silly? Contrived? Vapid? You bet. Put more simply, "The Prince & Me" is . . . cute.
    • 82 Metascore
    • 40 Ann Hornaday
    Put delicately, this is one long sit, made all the more so by a turgid story, a dour visual palette and uninspiring action.
    • 48 Metascore
    • 40 Ann Hornaday
    They succeed in presenting a compelling series of dots, to use the current parlance, but they don't succeed in connecting them.
    • 57 Metascore
    • 40 Ann Hornaday
    Mac manages to find some moments of comedy within a movie that often feels like it's going into extra innings
    • 54 Metascore
    • 40 Ann Hornaday
    Still breaks the first and only commandment of remakes: Thou shall at the very least do justice to the original, or thou shall not be made at all.
    • 55 Metascore
    • 40 Ann Hornaday
    To watch Mr. & Mrs. Smith, which continually sacrifices its potential for sophisticated fun on the altar of style and physical stunts, is to realize how far we've come from the great movies of, say, George Cukor or Howard Hawks.
    • 36 Metascore
    • 40 Ann Hornaday
    It's like a ferret on crystal meth that belatedly discovers ecstasy, and it's a tiresome trip either way.
    • 47 Metascore
    • 40 Ann Hornaday
    Canadian director Atom Egoyan delivers a rare misfire with Where the Truth Lies, a shockingly fatuous murder mystery with pseudo-intellectual pretensions.
    • 27 Metascore
    • 40 Ann Hornaday
    When a Stranger Calls never manages to convey the primal, almost atavistic terror that has earned John Carpenter's movies and the "Scream" franchise their places in the teen horror canon. The most lasting psychological effect of this pulp non-classic will most likely be limited to a deep pathological fear of Architectural Digest.
    • 58 Metascore
    • 40 Ann Hornaday
    One of the most eagerly awaited cinematic projects of 2006, which may be why it lands with such a curious thud.
    • 41 Metascore
    • 40 Ann Hornaday
    But despite doing its best to jiggle, giggle and ogle its way into a niche somewhere between "Heathers" and "American Pie," it becomes just another forgettable pastiche of sight gags and pop-culture references.
    • 36 Metascore
    • 40 Ann Hornaday
    Although audiences will admire the film's do-it-yourself energy and commitment, Poster Boy finally collapses of its own contrived weight, deflating just when it should soar into madcap -- or at least thoughtful -- satire.
    • 64 Metascore
    • 40 Ann Hornaday
    The premise -- a roundelay of New Yorkers looking for connection, or to escape it -- feels tired, and Mitchell's portrayal of sex as the ultimate vehicle for transcendence, self-knowledge and healing, while conveyed with authentic sweetness, seems shockingly naive.
    • 47 Metascore
    • 40 Ann Hornaday
    Falls as flat as a bottle of corked Bordeaux.
    • 51 Metascore
    • 40 Ann Hornaday
    It's a sprawling experiment in philosophical time travel and metaphysical noodling. And it's an earnest, magnificent wreck.
    • 33 Metascore
    • 40 Ann Hornaday
    Aside from Cedric's admittedly appealing persona -- he's always watchable, even in dreck like this -- there's absolutely nothing to recommend The Cleaner.
    • 52 Metascore
    • 40 Ann Hornaday
    Parading through most of the movie in a cutoff T-shirt and bikini briefs, Ricci takes the stereotype of the oversexed farmer's daughter to gothic extremes; Jackson's character, named Lazarus, is similarly drawn with oversize strokes.
    • 29 Metascore
    • 40 Ann Hornaday
    Sandra Bullock is a disheveled, grumpy, adorable mess in Premonition, a psychological thriller that was no doubt pitched as "Medium," only longer and brunette. Or maybe "The Eternal Sixth Sense of the Spotless Groundhog Day."
    • 83 Metascore
    • 40 Ann Hornaday
    It's a depressing little kingdom, even when Gordon tries desperately to goose the drama with the requisite "Eye of the Tiger" riffs and some junior high-level palace intrigue.
    • 56 Metascore
    • 40 Ann Hornaday
    A yawn and most unforgivably features some appalling arrangements of the Beatles' best-loved songs.
    • 47 Metascore
    • 40 Ann Hornaday
    But for all its passion and topical currency, the movie plays too often like a college colloquium. And it ends on an unsatisfying note, with each character's choice, whether fateful or fatal, hanging in a confounding limbo of indeterminacy.
    • 56 Metascore
    • 40 Ann Hornaday
    Falters when it falls into exploitation (Irena's flashbacks to scenes of depraved sexual torture) and fatal contrivance.
    • 43 Metascore
    • 40 Ann Hornaday
    The kind of bland, generic, high-concept midsummer comedy that drives a critic to the thesaurus in search of new ways to say "vapid."
    • 56 Metascore
    • 40 Ann Hornaday
    W.
    Why this movie -- a rushed, wildly uneven, tonally jumbled caricature -- and why now?
    • 63 Metascore
    • 38 Ann Hornaday
    If Shutter Island, a gothic thriller starring Leonardo DiCaprio and Mark Ruffalo, were put to a free association test, the word most likely to come to mind would certainly be "weird."
    • 55 Metascore
    • 38 Ann Hornaday
    Michael Caine delivers a stunning performance in Harry Brown, a rancid little revenge fantasy that probably doesn't deserve him.
    • 69 Metascore
    • 38 Ann Hornaday
    A dog-frequency movie: enjoyable only to those tuned in to its particular register.
    • 63 Metascore
    • 38 Ann Hornaday
    There's very little that's even kind of funny in It's Kind of a Funny Story, which can't accurately be described as a comedy but isn't a true drama, either.
    • 55 Metascore
    • 38 Ann Hornaday
    A jagged little pill of a movie from baby boomer avatar Edward Zwick.
    • 47 Metascore
    • 38 Ann Hornaday
    This fitfully funny but mostly dull misfire defines exactly where the line can be drawn between truly subversive humor and lazy cynicism.
    • 39 Metascore
    • 38 Ann Hornaday
    As it is, the audience must content itself with baby poop, naughty words and the female anatomy at its pneumatic extreme, while Bateman and Reynolds's search for transcendence continues.
    • 60 Metascore
    • 38 Ann Hornaday
    First-time director Anne Sewitsky may intend Happy, Happy as a Chekhovian chamber piece or romantic bagatelle, but her smugness about racism - and her glib symbolic resolution of the conflicts she raises - suggests an ambition that far outstrips her ability, at least for now.
    • 59 Metascore
    • 38 Ann Hornaday
    All of it makes for a rollicking, outsize tale of overweening ambition and palace intrigue, but J. Edgar instead plays it safe in a turgid, back-and-forth series of tableaux that look as if they were filmed from behind a scrim soaked in weak tea.
    • 39 Metascore
    • 38 Ann Hornaday
    One of the weaknesses of The Sitter is that Hill doesn't develop much comic chemistry with the children.
    • 40 Metascore
    • 38 Ann Hornaday
    Man on a Ledge has its diverting moments, but by the time it has reached its too-pat final twist, it turns out to be a title desperately in search of a movie.
    • 37 Metascore
    • 38 Ann Hornaday
    Conceived and directed by Madonna, W.E. is a gorgeous mess.
    • 31 Metascore
    • 38 Ann Hornaday
    As this sloppy, scattered, utterly synthetic piece of Hollywood widgetry unspools, it becomes increasingly clear that the romantic tension at play exists mostly between the men in question.
    • 39 Metascore
    • 38 Ann Hornaday
    Director Scott Hicks lavishes good taste and sunsets on a story that - devoid of genuine tension, conflict or combustible chemistry between its two stars - just prettily sits there.
    • 55 Metascore
    • 38 Ann Hornaday
    Dark Shadows doesn't know where it wants to dwell: in the eerie, subversive penumbra suggested by its title or in playful, go-for-broke camp.
    • 47 Metascore
    • 38 Ann Hornaday
    Rock of Ages gets too mired in plotty cul de sacs, manufactured setbacks and numbers that are all staged as show-stoppers. In the words of the Journey song that serves as a climactic singalong, it goes on and on and on and on.
    • 49 Metascore
    • 38 Ann Hornaday
    Gerwig remains one of the most captivating new stars to hit the big screen, but she's still looking for a movie that deserves her.
    • 57 Metascore
    • 38 Ann Hornaday
    It's a curio, ripe with dreamy atmospherics and intriguing mysteries, but little else.
    • 59 Metascore
    • 38 Ann Hornaday
    A strange little movie. Unsure whether it wants to be a quirky, sad-eyed indie pixie or a brassy, raunchy broad, it veers uneasily between the two, never quite settling into a comfortable or recognizable groove.
    • 62 Metascore
    • 38 Ann Hornaday
    Ted
    Eventually MacFarlane's formula -- consisting of filthy, ethnically offensive jokes, scatological humor, tacky pop culture references and random cameos -- begins to wear thin.
    • 57 Metascore
    • 38 Ann Hornaday
    That Winterbottom has delivered a dud makes Trishna all the more disappointing, a rare unsatisfying swerve from an otherwise reliably provocative career.
    • 58 Metascore
    • 38 Ann Hornaday
    It's a bloated, shockingly tedious trudge that manages to look both overproduced and unforgivably cheesy.
    • 50 Metascore
    • 38 Ann Hornaday
    Jack Reacher is a wildly ill-advised miscalculation, with Cruise's virtually unstoppable appeal butting uncomfortably against Reacher's alternately cocky and downright crude cynicism.
    • 50 Metascore
    • 38 Ann Hornaday
    Anne Fletcher's lifeless comedy about an overbearing mother and her exasperated adult son, has no flawlessly delivered punch lines. It doesn't even have a hangnail.
    • 40 Metascore
    • 38 Ann Hornaday
    Slick, sick, self-consciously stylish and defiantly shallow, Gangster Squad is one of those movies you can't talk about without invoking other (often better) movies. A lot of movies.
    • 28 Metascore
    • 37 Ann Hornaday
    Both assaultive and tiresome, A Good Day to Die Hard barely registers on the action movie Richter scale. It goes bang, it goes boom, and then it blessedly goes away.