For 1,070 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 Sugar
Lowest review score: 0 Whatever Works
Score distribution:
1,070 movie reviews
    • 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.
    • 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.
    • 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).
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    Adore at its core is a bore, nothing more.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 30 Ann Hornaday
    An overlong, visually incoherent, mean-spirited and often just plain awful Spider-Man 3.
    • 54 Metascore
    • 30 Ann Hornaday
    Seems fatally out of tune, with every staged encounter falling as flat as the protagonist's hot-ironed bob.
    • 44 Metascore
    • 30 Ann Hornaday
    But by the time Willis's character saves this considerably long day, it's filmgoers who will no doubt feel like prisoners, as a movie that promises to be a taut nail-biter devolves into the kind of silly, overblown climax parodied so beautifully by Robert Altman in "The Player."
    • 63 Metascore
    • 30 Ann Hornaday
    It feels like a retread of several better movies, with a nastier, more bitter edge.
    • 44 Metascore
    • 30 Ann Hornaday
    This romantic melodrama ... doesn't even get to first base.
    • 39 Metascore
    • 30 Ann Hornaday
    Indeed it looks as if this otherwise straight-to-video endeavor, which was made in 2003, is being released only to cash in on Bernal's of-the-moment-ness in Hollywood.
    • 34 Metascore
    • 30 Ann Hornaday
    A predictable and outlandishly contrived take on the Pygmalion myth.
    • 78 Metascore
    • 30 Ann Hornaday
    For all its stylishness, verve and moments of visual poetry, the relentlessly punishing slapstick and overall cruel tone left me cold.
    • 53 Metascore
    • 30 Ann Hornaday
    As a director, Solondz seems to have his own locked-in fate -- to favor caricature over compassion -- and his movies are the worse for it.
    • 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.
    • 67 Metascore
    • 30 Ann Hornaday
    Until the last 20 minutes or so of Rock School, the actual playing, while often startlingly good, is kind of boring.
    • 59 Metascore
    • 30 Ann Hornaday
    Heights is nothing more than a second-rate version of several much better movies, all of which are available on DVD and video.
    • 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.
    • 55 Metascore
    • 30 Ann Hornaday
    Yes
    It's a bold exercise, an interesting experiment, but a movie it ain't.
    • 52 Metascore
    • 30 Ann Hornaday
    Dark, dank, damp, grim, dingy and dour, Dark Water is a tasteful but unremitting bummer.
    • 72 Metascore
    • 30 Ann Hornaday
    The satirical edge has been dulled in a film that is dominated, and ultimately swamped, by its star's mannered, pixilated performance.
    • 43 Metascore
    • 30 Ann Hornaday
    9 Songs inadvertently proves just how limited experimentation for its own sake can be.
    • 47 Metascore
    • 30 Ann Hornaday
    Outlandish, uneven, preposterous and often maddeningly morbid.
    • 42 Metascore
    • 30 Ann Hornaday
    G
    For anyone to enjoy this starchy, contrived exercise in vanity and product placement, it's best not to have read the book. In fact, it's best not to have read ANY book.
    • 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
    May look good cavorting prettily on deck, but ultimately it deserves to walk the plank.
    • 45 Metascore
    • 30 Ann Hornaday
    Shockingly inert.
    • 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.
    • 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.
    • 43 Metascore
    • 30 Ann Hornaday
    As a comic actor, Allen's palette is limited to varying degrees of beige. He is not only boring, he's obnoxious and narcissistic. Where's the ASPCA -- the American Society for the Prevention of Cruelty to Audiences -- when you need 'em?
    • 46 Metascore
    • 30 Ann Hornaday
    Artistically, You, Me and Dupree is a mess. Technically, it's an abomination. Spiritually, it's a void. Commercially, it'll probably be a big hit.
    • 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.
    • 29 Metascore
    • 30 Ann Hornaday
    Creepy, creepy, creepy -- and not in a good way.
    • 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.
    • 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.
    • 28 Metascore
    • 30 Ann Hornaday
    Winds up answering the question of what "Shrek" hath wrought, and between its plastic-looking visuals and cynical attitude, the news isn't good. Lacking the genuine wit and humanism of that film and any number of forebears, this one deserves its dumpin'.
    • 26 Metascore
    • 30 Ann Hornaday
    What the filmmakers try to play for laughs -- a mom and her daughters chatting about orgasms while shoe shopping -- isn't funny, it's creepy.
    • 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
    John C. McGinley from "Scrubs" gets to strut some of his comic stuff as the deranged builder, but he's the only passable feature in a property that should be condemned.
    • 32 Metascore
    • 30 Ann Hornaday
    A piece of holiday cheese that even Harry & David wouldn't touch.
    • 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.
    • 34 Metascore
    • 30 Ann Hornaday
    One part Joseph Campbell hero quest, one part multi-culti morality tale, one part live-action "Flintstones" cartoon, 10,000 B.C. is finally every part just plain nuts, from a hike featuring more ecosystems than an Al Gore documentary to a wacky climax set amid pyramids that -- you'll e-mail me if I'm wrong -- wouldn't have been built for another 7,000 years or so.
    • 40 Metascore
    • 30 Ann Hornaday
    An inert, sloppily written melodrama as grim and featureless as its frozen Midwestern setting.
    • 37 Metascore
    • 30 Ann Hornaday
    Chances are, after they've passed the two-hour mark, viewers will share the same collective, if unspoken, wish: Go, Speed Racer. Go.
    • 37 Metascore
    • 30 Ann Hornaday
    A film that, in attempting to ridicule the Bush administration, finally just settles for being ridiculous itself.
    • 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?
    • 53 Metascore
    • 30 Ann Hornaday
    Could be filed under "wacky misfire."
    • 37 Metascore
    • 30 Ann Hornaday
    The movie winds up a casualty of schmaltzy, patronizing sentiment on the one hand and overweening ambition on the other.
    • 47 Metascore
    • 30 Ann Hornaday
    A singularly vulgar piece of work.
    • 45 Metascore
    • 30 Ann Hornaday
    Pride and Glory would be risible if it weren't so reprehensible.
    • 38 Metascore
    • 30 Ann Hornaday
    As Crossing Over makes its patronizing points, by way of two-dimensional characters and billboarded plot points, it recalls other, better movies that dealt with the same subjects far more deftly.
    • 39 Metascore
    • 30 Ann Hornaday
    Sloppy compendium of filthy jokes and lowbrow sight gags.
    • 38 Metascore
    • 30 Ann Hornaday
    A retread of material already thoroughly plumbed by Martin Scorsese.
    • 57 Metascore
    • 30 Ann Hornaday
    Attal, who resembles a young Robert De Niro, seems as addled as a director as his character is as a husband, throwing all manner of distractions onto the screen in order to divert the audience.
    • 72 Metascore
    • 30 Ann Hornaday
    By the film's self-congratulatory final shot, Stevie has become less a portrait of a sorry young man's difficult life than the story of auteurist arrogance and self-deception run amok.
    • 43 Metascore
    • 30 Ann Hornaday
    In a summer of surprisingly self-serious comic book movies" Lara Croft "stands out as being particularly humorless.
    • 52 Metascore
    • 30 Ann Hornaday
    It's piddling -- a hangdog little comedy with not enough laughs...its spirit rattles around inside it like a marble in an oil drum.
    • 38 Metascore
    • 30 Ann Hornaday
    So cheesy and cheap that it almost attains high camp.
    • 42 Metascore
    • 30 Ann Hornaday
    Has the tired, over-baked feeling of a script that never quite worked but was tinkered with until every ounce of spontaneity or life was hammered out of it.
    • 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.
    • 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.
    • 69 Metascore
    • 30 Ann Hornaday
    Gator never emerges as anything but a blatant and outspoken -- and virulently brutal -- jerk.
    • 47 Metascore
    • 30 Ann Hornaday
    The frightening myths about adoption that run through Like Mike make even its happiest endings a little bit creepy.
    • 51 Metascore
    • 30 Ann Hornaday
    Should have been a smart bit of cinematic froth but instead sinks like an overworked souffle.
    • 45 Metascore
    • 30 Ann Hornaday
    Another soundtrack-driven, disposable, not entirely objectionable teen movie.
    • 41 Metascore
    • 30 Ann Hornaday
    The loudest, trashiest, stupidest, cheesiest celebration of ritualized male aggression of 2004.
    • 45 Metascore
    • 30 Ann Hornaday
    Never gels into the smart, tightly orchestrated cat-and-mouse game that it promises to be.
    • 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.
    • 52 Metascore
    • 30 Ann Hornaday
    It's a remarkable, if appalling, spectacle of self-abasement. But of course, that's Sandler's specialty.
    • 49 Metascore
    • 30 Ann Hornaday
    An extraordinary collective act of moral and physical courage is relegated to a backdrop for a mushy, synthetic family melodrama.
    • 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.
    • 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.
    • 46 Metascore
    • 30 Ann Hornaday
    A movie that sags and drags under the weight of poor pacing, execrable writing and largely unlikable characters.
    • 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.
    • 27 Metascore
    • 30 Ann Hornaday
    Dragged down by a paper-thin story, the predictable number of fight scenes executed at equally predictable intervals and stock, unmemorable characters.
    • 28 Metascore
    • 30 Ann Hornaday
    One part historical drama and one part futuristic adventure, Timeline resembles a "Star Trek" episode by way of "Scooby-Doo."
    • 54 Metascore
    • 30 Ann Hornaday
    Belabored, ostentatious, overlong behemoth.
    • 34 Metascore
    • 30 Ann Hornaday
    As little as there is to recommend in Scooby-Doo 2, it must be noted that the human cast has done an uncanny job of inhabiting their two-dimensional characters.
    • 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.
    • 26 Metascore
    • 30 Ann Hornaday
    A nasty, formulaic and unforgivably obvious procedural.
    • 28 Metascore
    • 30 Ann Hornaday
    Doesn't orchestrate the scares with much finesse.
    • 48 Metascore
    • 30 Ann Hornaday
    Two-hour exercise in chaotic action and coarse, annoyingly coy sexuality.
    • 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.
    • 47 Metascore
    • 30 Ann Hornaday
    It winds up being tuneless, unfunny and, despite its strenuous efforts, not terribly sexy.
    • 33 Metascore
    • 30 Ann Hornaday
    It wants us to believe that being popular and getting the cutest guy in school really is the key to happiness. Like, how totally last century is that?
    • 38 Metascore
    • 30 Ann Hornaday
    An unsurprising, undistinguished piece of post-summer, pre-holiday detritus.
    • 62 Metascore
    • 30 Ann Hornaday
    Maybe the easiest thing would be to skip the movie altogether. Godard has created such a hermetic, uncompromising world that only the hardiest cinematic spelunkers are likely to appreciate its depths.
    • 37 Metascore
    • 30 Ann Hornaday
    It evokes a warmed-over Fox TV special.
    • 42 Metascore
    • 30 Ann Hornaday
    Plays less like a novel re-imagining of a classic if campy narrative than a drearily self-conscious exercise in Know Your Film References.
    • 53 Metascore
    • 30 Ann Hornaday
    Never manages to achieve the balance between authenticity and eccentricity.
    • 73 Metascore
    • 30 Ann Hornaday
    Unrelentingly grim, unremittingly gross and unforgivably unattractive, 28 Days Later is an orgy of troubling images and bestial sound effects.
    • 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
    The effect isn't just frenetic, unfunny and dull. It's kind of creepy.
    • 33 Metascore
    • 30 Ann Hornaday
    A movie marred by a flaccid script, listless pacing, a plethora of cutesy-poo gags and Ray Romano.
    • 27 Metascore
    • 30 Ann Hornaday
    Bland, workmanlike and instantly forgettable.
    • 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.
    • 42 Metascore
    • 25 Ann Hornaday
    It leaves audiences in a limbo every bit as torturous as the one the protagonist is in.
    • 49 Metascore
    • 25 Ann Hornaday
    It's a film within a film about a film within a film, and seems to lose layers of authenticity with each iteration, finally becoming a profoundly alienating experience.
    • 27 Metascore
    • 25 Ann Hornaday
    The biggest sin of Sex and the City 2 is its lack of beauty. It's garish when it should be sumptuous, tacky when it should be luxe, wafer-thin when it should be whip-smart and sophisticated.
    • 30 Metascore
    • 25 Ann Hornaday
    Grown Ups finds Sandler reverting to lunkheaded, lazy-laff form.
    • 33 Metascore
    • 25 Ann Hornaday
    An egregiously unfunny enterprise.
    • 45 Metascore
    • 25 Ann Hornaday
    Haphazardly conceived, phlegmatically paced, lazily filmed and punctuated with gratuitous moments of sexual and scatological slapstick.
    • 58 Metascore
    • 25 Ann Hornaday
    Even amid the hit-and-miss broadsides and laugh-free longueurs that comprise most of The Dictator, Cohen's acute hypocrisy-detector keeps on ticking, if barely.
    • 44 Metascore
    • 25 Ann Hornaday
    The Hangover Part II offers absolutely nothing new to fans of the first film. In fact, once the comfort of familiarity has worn off, they may well feel as baited-and-switched as the patrons of one of the sketchier clubs the boys visit.
    • 29 Metascore
    • 25 Ann Hornaday
    A lurid, loopy, utterly ludicrous enterprise.
    • 49 Metascore
    • 25 Ann Hornaday
    Akin to watching a ring-tested champion punch far below his weight. What a comedown.
    • 22 Metascore
    • 25 Ann Hornaday
    Behind all the noisemakers and funny glasses, New Year's Eve - and everyone in it - is dead behind the eyes.
    • 51 Metascore
    • 25 Ann Hornaday
    Even Strong's best efforts can't save John Carter from collapsing in on itself like a dead star.
    • 44 Metascore
    • 25 Ann Hornaday
    About the movie industry’s misguided belief that it can distract the audience from a film’s narrative weaknesses with little more than flash and spectacle. That con might have worked with the rubes once upon a time, but in case Hollywood hasn’t noticed, we’re not in Kansas anymore.
    • 37 Metascore
    • 25 Ann Hornaday
    This mishmash of styles, genres and tonal shifts makes for a dizzying pastiche best described in terms of the many movies it references throughout its nearly 2 1/2-hour running time, from “Little Big Man,” Buster Keaton’s “The General” and the Monument Valley-set canon of John Ford to “Dead Man,” “Rango” and “Pirates of the Caribbean.”
    • 27 Metascore
    • 25 Ann Hornaday
    A dreary, dismally unfunny excuse for a romantic comedy.
    • 46 Metascore
    • 25 Ann Hornaday
    There's a fine line between precocious and insufferable, and it's a line continually crossed by Extremely Loud and Incredibly Close.
    • 48 Metascore
    • 25 Ann Hornaday
    Hill and Stallone seem determined simply to prove that, even in their golden years, they're still tough enough to rumble with all comers. Bullet to the Head exposes that bravado for the pose that it is, and it's not a good look.
    • 45 Metascore
    • 25 Ann Hornaday
    A sequel every bit as clumsy, ham-handed, outlandish and laughable as the original was sleek, tough and efficient.
    • 74 Metascore
    • 25 Ann Hornaday
    A shapeless collection of encounters with Texas prison inmates and their victims, what could have been a well-aimed examination of the most troubling contradictions of capital punishment instead becomes a maudlin, unrestrained wallow.
    • 42 Metascore
    • 25 Ann Hornaday
    So didactic that viewers are likely to feel less uplifted than lectured.
    • 35 Metascore
    • 25 Ann Hornaday
    McCarthy’s willingness to go to the mat notwithstanding, it’s viewers who are likely left feeling punched in the gut.
    • 52 Metascore
    • 25 Ann Hornaday
    For all its playfulness, the new RoboCop can’t help but lack the novelty of the original’s jolting mixture of dumb-smart irony and visceral pulp.
    • 48 Metascore
    • 25 Ann Hornaday
    When the film isn’t sloppily directed, it’s a series of lazy filmmaking tics, including fetishistic slow-motion shots of blood, water and sweat, as well as sundry dismemberments, impalings and decapitations.
    • 37 Metascore
    • 25 Ann Hornaday
    The most objectionable thing about Only God Forgives isn’t that it’s shocking or immoral, but that it’s so finally, fatally dull.
    • 36 Metascore
    • 25 Ann Hornaday
    Even though it earns an R rating for profanity and some risque material, it’s too meek and mild-mannered to qualify as brave, or even slyly subversive.
    • 17 Metascore
    • 20 Ann Hornaday
    Much of what's offensive and insufferable about All About Steve can be laid at the feet of screenwriter Kim Barker, best known for inflicting "License to Wed" on the world. Why do these people still earn obscene amounts of money churning out dreck? And why do stars like Bullock keep paying them?
    • 44 Metascore
    • 20 Ann Hornaday
    In this case, the adage would go something like "material, material, material," also known as the Nicolas Cage Rule: Good acting can't overcome bad taste.
    • 45 Metascore
    • 20 Ann Hornaday
    If its made-for-TV sensibility explains its chaotically blobby shooting style, it doesn't clarify a plot so painfully padded that it looks for laughs in strange digressive asides regarding bratwurst and coffee.
    • 56 Metascore
    • 20 Ann Hornaday
    Has all the energy and spontaneity of a bowl of waxed fruit. If watching "Dogtown and Z-Boys" was tantamount to witnessing history itself, watching "Lords of Dogtown," which Peralta wrote, feels more like watching a stiff, meticulously choreographed reenactment.
    • 38 Metascore
    • 20 Ann Hornaday
    Visually undistinguished, narratively inert, populated by a cast of charmless child actors, "Sharkboy and Lavagirl," with any luck will fade quickly from theaters, memories and Rodriguez's own Things to Do Today list.
    • 50 Metascore
    • 20 Ann Hornaday
    If you find yourself at "The Island" I have only three words of advice: Vote yourself off.
    • 30 Metascore
    • 20 Ann Hornaday
    It's lewd, crude and socially irredeemable.
    • 27 Metascore
    • 20 Ann Hornaday
    The tale grows only more toxic with time.
    • 52 Metascore
    • 20 Ann Hornaday
    This overproduced romantic comedy doesn't even qualify as fluff; it's flat, featureless plastic.
    • 52 Metascore
    • 20 Ann Hornaday
    This lurid celebration of shock, schlock and the shamelessly perverse finds the 67-year-old grandfather of torture porn scraping the bottom of his admittedly limited creative barrel.
    • 24 Metascore
    • 20 Ann Hornaday
    Predictable, lazy and as overprocessed as Kate Hudson's hair, this thoroughly joyless movie also possesses a deep nasty streak, making it loathsome when it might have been merely annoying.
    • 37 Metascore
    • 20 Ann Hornaday
    If you're looking for some good family interspecies entertainment, take the little ones to see "Stuart Little 2" again; in the meantime, you might want to crawl into your cave and sleep through this one.
    • 54 Metascore
    • 20 Ann Hornaday
    An exercise in vanity, indulgence and a startling degree of shallowness.
    • 32 Metascore
    • 20 Ann Hornaday
    Both a snore and utter tripe.
    • 54 Metascore
    • 20 Ann Hornaday
    The film would be insufferable if it weren't for the total sincerity and commitment of its players.
    • 39 Metascore
    • 20 Ann Hornaday
    Anemic, pretentious.
    • 33 Metascore
    • 20 Ann Hornaday
    The movie isn't only boring; it's troubling:
    • 45 Metascore
    • 20 Ann Hornaday
    In this toxic tale of young psychopaths in love, the stylish, often stunning visuals are ultimately outmatched by the repellent protagonists at the story's center.
    • 37 Metascore
    • 20 Ann Hornaday
    A grisly, depraved and wholly uninvolving exercise in empty mannerism.
    • 28 Metascore
    • 20 Ann Hornaday
    The most misguided, ill-conceived and lamentable film.
    • 31 Metascore
    • 20 Ann Hornaday
    To call Lawrence a poor man's Richard Pryor libels not just Pryor but also the 33 million Americans currently living under the poverty line.
    • 39 Metascore
    • 20 Ann Hornaday
    It's trivial and narcissistic and ultimately rather sordid.
    • 73 Metascore
    • 20 Ann Hornaday
    The good news might be that Huppert wasn't available for Alias Betty, but the bad news is that it didn't stop France from exporting yet one more cold, pretentious, thoroughly dislikable study in sociopathy.
    • 36 Metascore
    • 20 Ann Hornaday
    The wanton fabulistas of Party Monster are as boring and insignificant as the very "normals and drearies" they so contemptuously deride.
    • 36 Metascore
    • 10 Ann Hornaday
    Why -- when there are so many funnier, smarter, more gifted performers who can't get arrested in Hollywood -- why, for the love of all that's good and holy, does Martin Lawrence get to keep making movies?
    • 51 Metascore
    • 10 Ann Hornaday
    Shouldn't fool viewers into thinking it's anything but a pseudo-artsy piece of tripe.
    • 37 Metascore
    • 10 Ann Hornaday
    Whether or not it's crucial for the gay community to have its own "Porky's" is a question for the ages; but please, not Another Gay Movie.
    • 53 Metascore
    • 10 Ann Hornaday
    Terribly tragic, terribly romantic and, ultimately, terribly, terribly dull.
    • 27 Metascore
    • 10 Ann Hornaday
    Tries desperately to lower the bar for scatological gags, rank sexual humor and cheap physical shots.
    • 24 Metascore
    • 10 Ann Hornaday
    Leaden, laugh-free, lacking anything resembling a heart, mind or soul.
    • 16 Metascore
    • 10 Ann Hornaday
    A depraved, incoherent, instantly disposable piece of hackery.
    • 19 Metascore
    • 10 Ann Hornaday
    To call it sophomoric would libel even the most pathetic, pimply underclassman.
    • 28 Metascore
    • 10 Ann Hornaday
    You know a movie is in trouble when its biggest laughs come not from its lead players but from a dog and a car
    • 42 Metascore
    • 0 Ann Hornaday
    Depraved, worthless piece of filth.
    • 45 Metascore
    • 0 Ann Hornaday
    This toxic, contemptuous, unforgivably unfunny bagatelle finds Allen at his most misanthropically one-note.
    • 9 Metascore
    • 0 Ann Hornaday
    Supremely idiotic.
    • 29 Metascore
    • 0 Ann Hornaday
    Indeed, I'd say Undiscovered belongs on the WB, but that would be gravely unfair to the channel, which looks like the BBC in comparison.
    • 26 Metascore
    • 0 Ann Hornaday
    Rarely has an act of such cinematic cruelty as Tideland been perpetrated on filmgoers.
    • 35 Metascore
    • 0 Ann Hornaday
    A special place in purgatory must be reserved for John Leguizamo, who produced and stars in The Babysitters, a loathsome slice of exploitation at its most cynical and crass.
    • 66 Metascore
    • 0 Ann Hornaday
    The yuck factor spins off the charts in Splice, a thoroughly repulsive science fiction-horror flick that slicks up its B-movie tawdriness with high-gloss production values and two otherwise classy stars.