For 1,345 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 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 Splice
Score distribution:
1,345 movie reviews
    • 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.
    • 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."
    • 52 Metascore
    • 50 Ann Hornaday
    Ping Pong Summer may not be an instant classic, but it knows its time and place. There’s a humble honor in that.
    • 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.
    • 53 Metascore
    • 50 Ann Hornaday
    Somehow, the comic chemistry never seems to ignite in The Big Year.
    • 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
    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.
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    A Letter to Momo is unquestionably lovely to look at, but viewers may not be able to shake the feeling that they’ve seen much of it before, and done better.
    • 75 Metascore
    • 50 Ann Hornaday
    A bit hard on the posterior, it is definitely easy on the eyes.
    • Baltimore Sun
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Ann Hornaday
    Aquamarine is better than nothing for its woefully underserved audience.
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    Filmgoers haven't seen a family this neurotically enmeshed since the last Diane Keaton movie.
    • 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.
    • 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.
    • 67 Metascore
    • 50 Ann Hornaday
    Even with all this talent and earnestness, though, Nowhere Boy still feels indulgent, slight and almost instantly forgettable.
    • 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.
    • 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.
    • 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.
    • 39 Metascore
    • 50 Ann Hornaday
    Has its modest charms.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a movie guaranteed to please crowds, if only because it insists on their affection so strenuously.
    • 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
    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.
    • 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.
    • 41 Metascore
    • 50 Ann Hornaday
    Owen Wilson phones it in with Drillbit Taylor, a by-the-numbers teen comedy.
    • 58 Metascore
    • 50 Ann Hornaday
    Paints an often grave but sometimes hilarious picture of a hugely powerful network.
    • 38 Metascore
    • 50 Ann Hornaday
    Character-rich, but plot-poor.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Ann Hornaday
    The gently perfumed air of impending doom suffuses 3 Hearts, a tasteful, mildly intriguing romantic drama from writer-director Benoît Jacquot.
    • 76 Metascore
    • 50 Ann Hornaday
    Does it make it as a movie? Only in fits and starts.
    • 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.
    • 57 Metascore
    • 50 Ann Hornaday
    Genteel but ultimately unnecessary entertainment.
    • 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.
    • 66 Metascore
    • 50 Ann Hornaday
    Rather than sparkle and dance, it plods.
    • 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.
    • 56 Metascore
    • 50 Ann Hornaday
    A toothless series of vignettes rather than an insider satire on par with, say, "Bowfinger."
    • 32 Metascore
    • 50 Ann Hornaday
    A fascinating, vexing, indulgent, visionary, pretentious, mesmerizing pop culture curio.
    • 36 Metascore
    • 50 Ann Hornaday
    It's lame, corny, Ed Woodishly amateurish -- all of which is as lovable as the big lug himself.
    • 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.
    • 67 Metascore
    • 50 Ann Hornaday
    Some dazzling in-camera special effects, especially the ingenious idea of filming the story's ghost at a slow speed, six frames per second, giving the being a strange, otherworldly way of moving.
    • 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.
    • 70 Metascore
    • 50 Ann Hornaday
    Fails to go into the one realm that would make it worthwhile, which is Ed Wood's brain.
    • Baltimore Sun
    • 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.
    • 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.
    • 66 Metascore
    • 50 Ann Hornaday
    Never quite breaks out of its talky inertia.
    • 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.
    • 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
    Jigh class briefly gives way to high camp, which then itself dissipates to an anticlimactic thud.
    • 58 Metascore
    • 50 Ann Hornaday
    The movie doesn't offer much new to anyone familiar with Carter.
    • 65 Metascore
    • 50 Ann Hornaday
    Its pedagogical tone perfectly suits it for viewing in classrooms.
    • 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."
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Ann Hornaday
    The best thing about all of this is Bettany.
    • 47 Metascore
    • 50 Ann Hornaday
    A thoroughly unnecessary but nonetheless satisfying adaptation of the cheeseball 1980s TV series.
    • 61 Metascore
    • 50 Ann Hornaday
    If Quitting isn't worthy of affection exactly, it's worthy of respect.
    • 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.
    • 50 Metascore
    • 50 Ann Hornaday
    Crowe clearly seeks to return to classic storytelling values with this sweeping-yet-intimate, serious-yet-swashbuckling, hither-yet-thither picaresque; that he succeeds only part of the time shouldn’t detract from the worthiness of his mission.
    • 40 Metascore
    • 50 Ann Hornaday
    Nightwatch is passable stuff for undiscriminating fans of the ickier-the-better genre; for the rest of us, it offers nothing new. [17 Apr 1998]
    • Baltimore Sun
    • 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.
    • 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.
    • 54 Metascore
    • 50 Ann Hornaday
    As with so many recent literary adaptations, it was the writing that was the art, not its infrastructure of plot and character.
    • Baltimore Sun
    • 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.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Ann Hornaday
    Modestly amusing teen summer comedy.
    • 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.
    • 51 Metascore
    • 50 Ann Hornaday
    Thanks to its funny, attractive, emotionally on-point cast, The Second Best Exotic Marigold Hotel puts the lie to F. Scott Fitzgerald’s pronouncement about life having no second acts. In fact, it goes one step further to question why on Earth anyone would stop at just two.
    • 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.
    • 74 Metascore
    • 50 Ann Hornaday
    Interstellar tries so hard to be so many things that it winds up shrinking into itself, much like one of the collapsed stars Coop hurtles past on his way to new worlds. For a movie about transcending all manner of dimensions, “Interstellar” ultimately falls surprisingly flat.
    • 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.
    • 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
    It plods along dutifully, with the occasional zigzag into contrivance, tidy coincidence and outright preposterousness.
    • 67 Metascore
    • 50 Ann Hornaday
    For all its gossamer, gauze, filigree and refinement, Cinderella drags when it should skip as lightly as its title character when she’s late getting home from the ball.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Ann Hornaday
    A shaggy, baggy collegiate comedy that is less a coherent movie than a loosely assembled series of lewd jokes and punishing slapstick routines.
    • 43 Metascore
    • 50 Ann Hornaday
    Trust the Man quickly begins to feel hopelessly derivative of other, better movies.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Ann Hornaday
    The look, style and smarts of A Walk Among the Tombstones seem like such a refreshingly toned-down departure from the outlandishness of Neeson’s “Taken” franchise that it’s all the more dismaying when the film shifts radically into a sadistic tableau of blood and gore.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 50 Ann Hornaday
    Exerts an unmistakable appeal, thanks to an absorbing story and fine performances from Morris Chestnut and Taraji P. Henson.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Ann Hornaday
    Olympus Has Fallen at least possesses the frisson of timeliness amid otherwise hoary action-movie cliches.
    • 65 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.
    • 51 Metascore
    • 50 Ann Hornaday
    A slight, modestly funny comedy.
    • 34 Metascore
    • 50 Ann Hornaday
    It's perfectly palatable family fare for a long weekend.
    • 40 Metascore
    • 50 Ann Hornaday
    Intriguing, if uneven, thriller.
    • 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.
    • 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.
    • 79 Metascore
    • 50 Ann Hornaday
    Gone Girl may get the job done as a dutiful, deliberately paced procedural, but it never quite makes the splash it could have as a thoughtful, timely and thoroughly bracing plunge.
    • 38 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Ann Hornaday
    Micmacs brings an infectious note of caprice to the old-fashioned caper film.
    • 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.
    • 55 Metascore
    • 50 Ann Hornaday
    At its best, Woman Thou Art Loosed conveys the unfathomable meaning behind those words.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a downbeat, indulgent and self-consciously quirky little movie.
    • 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.
    • 57 Metascore
    • 50 Ann Hornaday
    "Everything is achievable through technology," a character says more than once in Iron Man 2. Not so.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Ann Hornaday
    Lovely to look at and listen to but doesn't reward any closer study.
    • 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.
    • 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.
    • 73 Metascore
    • 50 Ann Hornaday
    It resides in that cinematic middle ground of not-bad, not-great, just okay.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Ann Hornaday
    Despite all the swooping and spinning and swinging in The Amazing Spider-Man 2, Garfield looks less like a kid having fun than like an actor entangled in a corporate web that, at least for now, he can’t escape.
    • 60 Metascore
    • 50 Ann Hornaday
    Whimsical, fantastical and self-consciously charming, it slinks around viewers’ ankles like an affectionate cat, purring ever more loudly until the audience can’t help but succumb.
    • 43 Metascore
    • 50 Ann Hornaday
    Terrific looking in the extreme, The Beach is the movie equivalent of vacation reading: no more demanding -- and no less satisfying -- than a sandy paperback left on a damp towel.
    • Baltimore Sun
    • 38 Metascore
    • 50 Ann Hornaday
    To its credit, Men, Women & Children seems to allow for a rational middle ground between technophobic Luddites and the lamentably over-wired. It never turns down the moral panic entirely, but neither does it let it completely boil over.
    • 38 Metascore
    • 50 Ann Hornaday
    Threatens to become a serious movie, but they're quickly overwhelmed by another indecipherable rampage or outsize visual effect.
    • 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.
    • 58 Metascore
    • 50 Ann Hornaday
    Thank heaven for Judi Dench, whose M provides Quantum of Solace its sole quantum of peppery brio.
    • 77 Metascore
    • 50 Ann Hornaday
    As pungent as McDonagh’s writing is, it may be his too-easy pessimism that makes Calvary engrossing and thought-provoking, but not great.
    • 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.
    • 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
    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.
    • 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.
    • 56 Metascore
    • 50 Ann Hornaday
    Even if Scream 3 lacks the punch and verve of the first two installments, it manages to wring some ironically metaphysical comedy from the movie-within-a-movie motif.
    • 49 Metascore
    • 50 Ann Hornaday
    It's a promising concept, albeit melodramatic, but what keeps the movie from halfway working is its infernal preciousness. [03 Sep 1993]
    • Baltimore Sun
    • 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.
    • 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.
    • 75 Metascore
    • 50 Ann Hornaday
    The best we can do, Goodbye to Language suggests, is to be as attuned, instinctive and spontaneous as beasts in a state of nature. Or maybe that’s not what the movie is saying at all. Godard leaves his enterprise adamantly open-ended, the better for viewers to supply their own metaphors, meanings and moral implications.
    • 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.
    • 68 Metascore
    • 50 Ann Hornaday
    “No No” performs the valuable service of elevating Ellis’s legacy beyond one game, reminding viewers of a career during which he was almost always, as one observer notes, “a chapter ahead.”
    • 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.
    • 68 Metascore
    • 50 Ann Hornaday
    It's one of those movies whose appeal depends on the viewer's tolerance for watching French people suffer, smoke and sigh prettily.
    • Baltimore Sun
    • 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.
    • 66 Metascore
    • 50 Ann Hornaday
    Good points aside, In Good Company is a bland, occasionally phlegmatic pastiche of cliches and dull encounters.
    • 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.
    • 38 Metascore
    • 50 Ann Hornaday
    Think Like a Man Too, the derivative, intermittently amusing follow-up to the surprise hit rom-com from 2012, is so frenetically paced and hysterically pitched that it makes almost no room for simple enjoyment.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Ann Hornaday
    Thank heaven for William H. Macy, whose portrayal of Happy's sheriff strikes the only honest note in a film that earns its laughs the cheap way.
    • Baltimore Sun
    • 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.
    • 57 Metascore
    • 50 Ann Hornaday
    May not be perfect but must be given credit for all that it does right.
    • 46 Metascore
    • 50 Ann Hornaday
    His [Director Mike Figgis's] techniques do make the film at least watchable.
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    Fake or not, Unknown White Male doesn't live up to its tantalizing potential.
    • 35 Metascore
    • 50 Ann Hornaday
    It's difficult to know whom to root for.
    • 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.
    • 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.
    • 51 Metascore
    • 40 Ann Hornaday
    It's a sprawling experiment in philosophical time travel and metaphysical noodling. And it's an earnest, magnificent wreck.
    • 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
    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.
    • 56 Metascore
    • 40 Ann Hornaday
    Falters when it falls into exploitation (Irena's flashbacks to scenes of depraved sexual torture) and fatal contrivance.
    • 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.
    • 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."
    • 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
    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.
    • 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
    • 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.
    • 56 Metascore
    • 40 Ann Hornaday
    A yawn and most unforgivably features some appalling arrangements of the Beatles' best-loved songs.
    • 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
    Canadian director Atom Egoyan delivers a rare misfire with Where the Truth Lies, a shockingly fatuous murder mystery with pseudo-intellectual pretensions.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 40 Ann Hornaday
    Silly? Contrived? Vapid? You bet. Put more simply, "The Prince & Me" is . . . cute.
    • 47 Metascore
    • 40 Ann Hornaday
    Falls as flat as a bottle of corked Bordeaux.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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
    W.
    Why this movie -- a rushed, wildly uneven, tonally jumbled caricature -- and why now?
    • 63 Metascore
    • 38 Ann Hornaday
    Blessed with some outstanding performances, among them Ribisi's.
    • Baltimore Sun
    • 58 Metascore
    • 38 Ann Hornaday
    It's a bloated, shockingly tedious trudge that manages to look both overproduced and unforgivably cheesy.
    • 63 Metascore
    • 38 Ann Hornaday
    Overblown sanctimony and sentimentalism as corny as the Fourth of July.
    • 69 Metascore
    • 38 Ann Hornaday
    A dog-frequency movie: enjoyable only to those tuned in to its particular register.
    • 58 Metascore
    • 38 Ann Hornaday
    An uninteresting take on a tired formula that is only occasionally funny and usually pretty gross.
    • Baltimore Sun
    • 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.
    • 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.
    • 62 Metascore
    • 38 Ann Hornaday
    An only fitfully engaging L.A. soap opera.
    • 35 Metascore
    • 38 Ann Hornaday
    Brain-softener.
    • Baltimore Sun
    • 28 Metascore
    • 38 Ann Hornaday
    Busy, over-stylized mess of a movie.
    • 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.
    • 55 Metascore
    • 38 Ann Hornaday
    A jagged little pill of a movie from baby boomer avatar Edward Zwick.
    • 56 Metascore
    • 38 Ann Hornaday
    Offers jaw-dropping visuals, but its troubling images of violence may cause this revolutionary effort to miss the evolutionary boat.
    • Baltimore Sun
    • 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.
    • 47 Metascore
    • 38 Ann Hornaday
    (Perry and Willis) are blown off the screen by Amanda Peet and Natasha Henstridge.
    • 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.
    • 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.
    • 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.
    • 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.
    • 25 Metascore
    • 38 Ann Hornaday
    Of Madonna's considerable talents, making the camera love her isn't one: The screen seems to go dead every time she's on it.
    • 61 Metascore
    • 38 Ann Hornaday
    With a grating combination of naivete and arrogance, The Green Mile consistently overplays its melodramatic material, including a portrait of a black man that is as breathtakingly offensive as it is earnest.
    • Baltimore Sun
    • 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."
    • 46 Metascore
    • 38 Ann Hornaday
    Bullock's character goes through some changes, but she never turns into some unrecognizably serious actress.
    • Baltimore Sun
    • 39 Metascore
    • 38 Ann Hornaday
    One of the weaknesses of The Sitter is that Hill doesn't develop much comic chemistry with the children.
    • 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
    Little more than an electronic press kit for the band, produced for the benefit of its fans.
    • Baltimore Sun
    • 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.
    • 56 Metascore
    • 38 Ann Hornaday
    There's less here than meets the eye, not to mention the ear, nose, tongue and fingertip.
    • Baltimore Sun
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 38 Ann Hornaday
    Conceived and directed by Madonna, W.E. is a gorgeous mess.
    • 30 Metascore
    • 38 Ann Hornaday
    To his (Snipes) credit, there are few other stars who could breathe a degree of credibility into a film like The Art of War.
    • Baltimore Sun
    • 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.
    • 49 Metascore
    • 38 Ann Hornaday
    At some point the foul language, lascivious sight gags, references to sex toys, violence against animals and cruelty toward children simply ceases to be funny.
    • Baltimore Sun
    • 57 Metascore
    • 38 Ann Hornaday
    It's a curio, ripe with dreamy atmospherics and intriguing mysteries, but little else.
    • 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.
    • 40 Metascore
    • 38 Ann Hornaday
    Giamatti provides those small moments of triumph that Duets pretends to celebrate but instead stifles with its sense of superiority.
    • Baltimore Sun
    • 37 Metascore
    • 38 Ann Hornaday
    Never makes the Jordans' tribulations feel like anything more than yuppie angst.
    • 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.
    • 44 Metascore
    • 37 Ann Hornaday
    It would be dishonest to claim it isn’t funny. The laughs may come in fits and starts, usually by way of sight gags and set pieces, but they do come. And then they go.
    • 37 Metascore
    • 37 Ann Hornaday
    Adore at its core is a bore, nothing more.
    • 36 Metascore
    • 37 Ann Hornaday
    The best thing about awkward moments, after all, is that they usually pass quickly. And, blessedly, just as swiftly forgotten.
    • 37 Metascore
    • 37 Ann Hornaday
    Don’t expect to see a great film, or even a very good one. Whether you discover a meaningful channel with which to continue your walk with the film’s protagonist, however, is strictly between you and your god.
    • 36 Metascore
    • 37 Ann Hornaday
    The film might take its name from poker subculture, but it lacks all the urgency, single-mindedness and swiftness that the title implies at its most literal. Runner Runner is a bummer. Bummer.
    • 50 Metascore
    • 37 Ann Hornaday
    Writer-director Rupert Goold, here making his feature debut, fails to capture the chemistry and tonal complexity necessary to make this grim, often grisly tale anything more than a tragically lurid anecdote.
    • 38 Metascore
    • 37 Ann Hornaday
    As is true with so much of Haggis’s work, Third Person suffers from an airless, too-neat lack of connection with organic life.
    • 55 Metascore
    • 37 Ann Hornaday
    Snyder tries to up the spectacle ante with ever more explosions, crashes, thermal blasts, topological realignments, gunfire and mano-a-mano fistfights. But the result is a punishing sense of diminishing returns and a genre that has finally reached the point of mayhem-induced exhaustion.
    • 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.
    • 34 Metascore
    • 37 Ann Hornaday
    Safe Haven is one of those Valentine’s Day confections that satisfy your sweet tooth until you get to their weird, off-putting center. The problem with movies is that you can’t put them back in the box.
    • 52 Metascore
    • 37 Ann Hornaday
    Although Lee briefly engages in some fascinating ideas linking the vampire’s existence to cultural empowerment, preservation and survival, he squanders that potential in leaden soft-core cliches that usually wind up with him ogling the female form.
    • 52 Metascore
    • 37 Ann Hornaday
    This calculatingly adorable coming-of-age tale has its delights — chiefly in a modest, endearing lead performance from Anton Yelchin and an amusing two-handed turn by Glenn Close and Frank Langella as his parents — but feels more constructed than lived.
    • 50 Metascore
    • 37 Ann Hornaday
    The Zero Theorem doesn’t fully earn the elaborately conceived scaffolding on which its relatively tame ideas are hoisted.
    • 40 Metascore
    • 37 Ann Hornaday
    Even at its lamest and most entitled, this sequel will most likely please fans of the first installment, chiefly because Bateman, Sudeikis and Day are, admittedly, often very funny together.
    • 55 Metascore
    • 37 Ann Hornaday
    2 Guns feels like it’s all been done before, whether by John Woo, Michael Bay or any number of their CGI-happy clones.
    • 48 Metascore
    • 37 Ann Hornaday
    A movie that, despite its strenuous efforts to appear hardened and sexy and sleek, is unforgivably phony, talky and dull.
    • 60 Metascore
    • 37 Ann Hornaday
    Bullock and McCarthy and the chemistry they generate are far more compelling than the movie they’re in. Too often the sketches go on too long, and the coarse, abrasive tone quickly begins to feel repetitive and off-putting.
    • 52 Metascore
    • 37 Ann Hornaday
    White House Down never quite seems to decide what kind of movie it wants to be, although by firepower alone it qualifies as this summer’s most cartoonishly bombastic exercise in sensory overload (so far).
    • 39 Metascore
    • 37 Ann Hornaday
    Although The Other Woman nibbles around the edges of revealing truths about relationships, it leaves most of that potential behind, instead pursuing easy, exhausted cliches about zip-less marriages, upper class suburban drudgery, cynical careerism and dumb-but-sweet blondes.
    • 49 Metascore
    • 37 Ann Hornaday
    There’s no doubt that Aniston deserves more roles like this one but, with luck, in less maudlin, more surprising movies.
    • 59 Metascore
    • 37 Ann Hornaday
    At times, Unfriended really clicks — but ultimately, it’s a drag.
    • 38 Metascore
    • 37 Ann Hornaday
    Reiner assembles a square meal of rom-com pleasure points, but it’s bland, by-the-numbers and not particularly memorable.
    • 42 Metascore
    • 33 Ann Hornaday
    The Loss of Sexual Innocence is belabored, pretentious and often willfully opaque. [25 Jun 1999]
    • Baltimore Sun
    • 68 Metascore
    • 30 Ann Hornaday
    A grisly, often cynical piece of work whose joyless, aggressive spirit is made even less appealing by its soulless visual style.
    • 43 Metascore
    • 30 Ann Hornaday
    9 Songs inadvertently proves just how limited experimentation for its own sake can be.
    • 39 Metascore
    • 30 Ann Hornaday
    Sloppy compendium of filthy jokes and lowbrow sight gags.
    • 56 Metascore
    • 30 Ann Hornaday
    Sylvia plays it safe, and in doing so it becomes little more than just another domestic melodrama devoid of life and, of all things, poetry.
    • 32 Metascore
    • 30 Ann Hornaday
    A stunningly inert piece of cinema, a movie that basically boils down to serial shots of people talking to each other.
    • 48 Metascore
    • 30 Ann Hornaday
    Whether it's the sight of Reynolds squeezed painfully into a football uniform or the endless footballs-to-the-crotch and tired gay jokes, The Longest Yard has the feeling of mutton dressed as lamb.
    • 38 Metascore
    • 30 Ann Hornaday
    Most of the humor in The Pink Panther derives from Martin's silly French accent, especially when he tries to pronounce the word "hamburger." But zat joke, she ees not funny. And The Pink Panther ees, how you say, ze real dog.
    • 34 Metascore
    • 30 Ann Hornaday
    Regardless of the cute little hats and clam-diggers she wears, it's impossible to believe Kidman as a breathless ingenue; that relentless drive and steely Kidmanesque determination keep jutting through the cotton in flinty, sharp-edged shards.
    • 46 Metascore
    • 30 Ann Hornaday
    A movie that sags and drags under the weight of poor pacing, execrable writing and largely unlikable characters.
    • 51 Metascore
    • 30 Ann Hornaday
    In reality, Eros is a letdown, a collection of bagatelles that, with one exception, fails to live up to its promise.
    • 36 Metascore
    • 30 Ann Hornaday
    A boilerplate melodrama whose good guys and bad guys are so baldly drawn they could have been conceived by Friz Freleng.
    • 40 Metascore
    • 30 Ann Hornaday
    An inert, sloppily written melodrama as grim and featureless as its frozen Midwestern setting.
    • 55 Metascore
    • 30 Ann Hornaday
    At once listless and overheated, giddy and utterly zipless, the current incarnation lacks not just the savoir-faire of its stylish predecessor but also the sex appeal.
    • 41 Metascore
    • 30 Ann Hornaday
    The loudest, trashiest, stupidest, cheesiest celebration of ritualized male aggression of 2004.
    • 68 Metascore
    • 30 Ann Hornaday
    Trudging nobly under a mantle of impeccably earnest intentions and a fussy, too-quaint-by-half production design, Honeydripper lags and drags to its utterly predictable end. There's not a spark of spontaneity or soul about it.
    • 58 Metascore
    • 30 Ann Hornaday
    Sadly, the filmmakers haven't given viewers enough context or information about their protagonist to know whether he's utterly free or utterly unmoored -– or to care very much either way.
    • 62 Metascore
    • 30 Ann Hornaday
    Viewers anticipating side-splitting guffaws will be disappointed: Stuck on You is a strangely lackluster, flaccid string of fitfully humorous episodes.
    • 45 Metascore
    • 30 Ann Hornaday
    Shockingly inert.
    • 61 Metascore
    • 30 Ann Hornaday
    The question is why the time, talent and treasure of such energetic and even gifted artists have been marshaled in such a disgusting and trivial genre exercise and what viewers are supposed to get out of it. Isn't life hard enough?
    • 65 Metascore
    • 30 Ann Hornaday
    The fact that there's nothing wrong with it -- that there's nary a scenic detail or scrap of dialogue or performance that isn't utterly on the nose -- is precisely what's wrong with it.
    • 45 Metascore
    • 30 Ann Hornaday
    Pride and Glory would be risible if it weren't so reprehensible.
    • 63 Metascore
    • 30 Ann Hornaday
    It feels like a retread of several better movies, with a nastier, more bitter edge.
    • 47 Metascore
    • 30 Ann Hornaday
    It winds up being tuneless, unfunny and, despite its strenuous efforts, not terribly sexy.
    • 27 Metascore
    • 30 Ann Hornaday
    Bland, workmanlike and instantly forgettable.
    • 33 Metascore
    • 30 Ann Hornaday
    The effect isn't just frenetic, unfunny and dull. It's kind of creepy.
    • 43 Metascore
    • 30 Ann Hornaday
    In a summer of surprisingly self-serious comic book movies" Lara Croft "stands out as being particularly humorless.
    • 48 Metascore
    • 30 Ann Hornaday
    Traffics in nearly every trite cliche of the "colorful" South one can think of, from its pseudo-Gothic aesthetic to its overripe dialogue.
    • 33 Metascore
    • 30 Ann Hornaday
    What it possesses in heart and goodwill, it sorely lacks in narrative skill and artistic depth.
    • 36 Metascore
    • 30 Ann Hornaday
    Rarely has an actress exuded such blank nothingness as Simpson, a one-woman vapid delivery system who sucks the energy and joy out of every scene she's in, like some freakishly well-endowed black hole.
    • 38 Metascore
    • 30 Ann Hornaday
    So cheesy and cheap that it almost attains high camp.
    • 83 Metascore
    • 30 Ann Hornaday
    Watching Thurman's character "triumph" in a context as joyless and self-referential as Tarantino's is a soul-deadening experience, one that over two hours takes on the same dreary monotone as the cheapest pornography.
    • 23 Metascore
    • 30 Ann Hornaday
    Not good enough to qualify as classic Gothic horror, not nearly fun enough to qualify as great B-movie camp.
    • 49 Metascore
    • 30 Ann Hornaday
    The two main characters are so shallow and self-involved -- not to mention the friends, family members and sundry apparatchiks they lug around with them -- that the two hours of Flannel Pajamas begin to feel like real time.
    • 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.
    • 37 Metascore
    • 30 Ann Hornaday
    A film that, in attempting to ridicule the Bush administration, finally just settles for being ridiculous itself.
    • 51 Metascore
    • 30 Ann Hornaday
    The stars of First Descent aren't particularly memorable, or even likable. At their worst, they come off as cocky, self-absorbed Peter Pans; at their best, they're sweet but shallow.
    • 53 Metascore
    • 30 Ann Hornaday
    Could be filed under "wacky misfire."
    • 26 Metascore
    • 30 Ann Hornaday
    A nasty, formulaic and unforgivably obvious procedural.
    • 45 Metascore
    • 30 Ann Hornaday
    May look good cavorting prettily on deck, but ultimately it deserves to walk the plank.
    • 33 Metascore
    • 30 Ann Hornaday
    A movie marred by a flaccid script, listless pacing, a plethora of cutesy-poo gags and Ray Romano.
    • 46 Metascore
    • 30 Ann Hornaday
    An endless, virtually laugh-free pastiche of Aaron Sorkin by way of Aaron Spelling, Chasing Liberty features Mandy Moore trying so strenuously to be the next America's Sweetheart that she almost pops a vein.
    • 38 Metascore
    • 30 Ann Hornaday
    A retread of material already thoroughly plumbed by Martin Scorsese.
    • 44 Metascore
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    This romantic melodrama ... doesn't even get to first base.
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    • 30 Ann Hornaday
    Creepy, creepy, creepy -- and not in a good way.

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