For 1,265 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 3.1 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Dallas Buyers Club
Lowest review score: 0 The Babysitters
Score distribution:
1,265 movie reviews
    • 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.
    • 55 Metascore
    • 50 Ann Hornaday
    At its best, Woman Thou Art Loosed conveys the unfathomable meaning behind those words.
    • 32 Metascore
    • 50 Ann Hornaday
    A fascinating, vexing, indulgent, visionary, pretentious, mesmerizing pop culture curio.
    • 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.
    • 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
    • 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
    • 55 Metascore
    • 50 Ann Hornaday
    Modestly amusing teen summer comedy.
    • 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.
    • 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.
    • 38 Metascore
    • 50 Ann Hornaday
    Threatens to become a serious movie, but they're quickly overwhelmed by another indecipherable rampage or outsize visual effect.
    • 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.
    • 36 Metascore
    • 50 Ann Hornaday
    The movie has been made with consummate carelessness but with occasional moments of knowing humor.
    • 39 Metascore
    • 50 Ann Hornaday
    Has its modest charms.
    • 66 Metascore
    • 50 Ann Hornaday
    Good points aside, In Good Company is a bland, occasionally phlegmatic pastiche of cliches and dull encounters.
    • 59 Metascore
    • 50 Ann Hornaday
    The best thing about all of this is Bettany.
    • 46 Metascore
    • 50 Ann Hornaday
    An unobjectionable if uninspired updating of a classic family story for the minivan generation.
    • 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
    • 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
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    Its pedagogical tone perfectly suits it for viewing in classrooms.
    • 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.
    • 60 Metascore
    • 50 Ann Hornaday
    Dans Paris will delight aficionados familiar with its myriad references, and there's no denying the appeal of Duris and Garrel. But once the source of the boys' primal wound is revealed, the whole enterprise comes to feel as mechanical as the Bon Marche window display that serves as one of the film's plot points.
    • 51 Metascore
    • 50 Ann Hornaday
    An emotional thriller that is by turns contrived and impassioned.
    • 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.
    • 51 Metascore
    • 50 Ann Hornaday
    A slight, modestly funny comedy.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 50 Ann Hornaday
    A movie sure to reward the filmmaker's most die-hard fans, while doing little to quiet critics who found his work self-conscious to the point of insufferability.
    • 50 Metascore
    • 50 Ann Hornaday
    With Anonymous, director Roland Emmerich gives us "Shakespeare in Luck." Make that "Dumb Luck": In this alternately entertaining and wildly ham-handed speculative romp.
    • 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.
    • 53 Metascore
    • 50 Ann Hornaday
    Somehow, the comic chemistry never seems to ignite in The Big Year.
    • 60 Metascore
    • 50 Ann Hornaday
    With its shambling, felicitously contrived structure and Fellini-esque climax, it's some kind of Jungian slacker fable.
    • 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.
    • 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.
    • 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.
    • 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."
    • 50 Metascore
    • 50 Ann Hornaday
    Tends toward the broadest possible takes on slapstick, sophomoric sexuality and post-"Hangover" raunch.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Ann Hornaday
    With visions of "The Public Enemy," "Bonnie and Clyde" and even "The Assassination of Jesse James by the Coward Robert Ford" dancing in its head, the Prohibition-era drama Lawless winds up being equal to none of them -- even if it holds its own as a modestly respectable genre exercise.
    • 64 Metascore
    • 50 Ann Hornaday
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Ann Hornaday
    Olympus Has Fallen at least possesses the frisson of timeliness amid otherwise hoary action-movie cliches.
    • 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.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 50 Ann Hornaday
    Intriguing, if uneven, thriller.
    • 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.
    • 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.
    • 37 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.
    • 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.
    • 66 Metascore
    • 50 Ann Hornaday
    Partridge is such a fatuous, superficial figure that the trick is to make him palatable enough to sustain interest for more than an hour. The filmmakers meet with uneven success.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 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.
    • 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?
    • 52 Metascore
    • 40 Ann Hornaday
    A slick, earnest, ultimately inert adaptation of the eponymous book of the Bible.
    • 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
    • 47 Metascore
    • 40 Ann Hornaday
    Silly? Contrived? Vapid? You bet. Put more simply, "The Prince & Me" is . . . cute.
    • 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.
    • 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.
    • 55 Metascore
    • 40 Ann Hornaday
    If listing the cast of Love Actually is exhausting, it's even more tiring to watch it.
    • 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."
    • 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
    • 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.
    • 62 Metascore
    • 38 Ann Hornaday
    An only fitfully engaging L.A. soap opera.
    • 37 Metascore
    • 38 Ann Hornaday
    Never makes the Jordans' tribulations feel like anything more than yuppie angst.
    • 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
    • 56 Metascore
    • 38 Ann Hornaday
    There's less here than meets the eye, not to mention the ear, nose, tongue and fingertip.
    • Baltimore Sun
    • 63 Metascore
    • 38 Ann Hornaday
    Blessed with some outstanding performances, among them Ribisi's.
    • Baltimore Sun
    • 47 Metascore
    • 38 Ann Hornaday
    Little more than an electronic press kit for the band, produced for the benefit of its fans.
    • Baltimore Sun
    • 28 Metascore
    • 38 Ann Hornaday
    Busy, over-stylized mess of a movie.
    • 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
    • 47 Metascore
    • 38 Ann Hornaday
    (Perry and Willis) are blown off the screen by Amanda Peet and Natasha Henstridge.
    • 46 Metascore
    • 38 Ann Hornaday
    Bullock's character goes through some changes, but she never turns into some unrecognizably serious actress.
    • Baltimore Sun
    • 63 Metascore
    • 38 Ann Hornaday
    Overblown sanctimony and sentimentalism as corny as the Fourth of July.
    • 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
    • 35 Metascore
    • 38 Ann Hornaday
    Brain-softener.
    • Baltimore Sun
    • 58 Metascore
    • 38 Ann Hornaday
    An uninteresting take on a tired formula that is only occasionally funny and usually pretty gross.
    • Baltimore Sun
    • 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
    • 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.
    • 39 Metascore
    • 38 Ann Hornaday
    One of the weaknesses of The Sitter is that Hill doesn't develop much comic chemistry with the children.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 38 Ann Hornaday
    It's a bloated, shockingly tedious trudge that manages to look both overproduced and unforgivably cheesy.
    • 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.
    • 37 Metascore
    • 38 Ann Hornaday
    Conceived and directed by Madonna, W.E. is a gorgeous mess.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 38 Ann Hornaday
    It's a curio, ripe with dreamy atmospherics and intriguing mysteries, but little else.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 39 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.
    • 37 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.
    • 42 Metascore
    • 33 Ann Hornaday
    The Loss of Sexual Innocence is belabored, pretentious and often willfully opaque. [25 Jun 1999]
    • Baltimore Sun
    • 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.
    • 69 Metascore
    • 25 Ann Hornaday
    Funny Games condescends to its audience like a pretentious, preachifying graduate student in post-modernism. It would help us out of the cultural quagmire we're drowning in, if only we could understand its highly convoluted and exclusive language. [29 May 1998, p.1E]
    • Baltimore Sun
    • 29 Metascore
    • 25 Ann Hornaday
    A hackneyed psycho-sexual thriller with enough awkwardly executed Hitchcock references to qualify as a bad DePalma knock-off.
    • Baltimore Sun
    • 27 Metascore
    • 25 Ann Hornaday
    A tired piece of hackery, made only slightly less distasteful by a couple of inspired moments from supporting player Alan Cumming.
    • Baltimore Sun
    • 37 Metascore
    • 25 Ann Hornaday
    Fanaro's script never really hones in on the concept's potential.
    • Baltimore Sun
    • 38 Metascore
    • 25 Ann Hornaday
    Just another tepid entry into this year's Death-as-Turn-On Sweepstakes.
    • 44 Metascore
    • 25 Ann Hornaday
    Ultimately groans under the weight of its own quiet gorgeousness.
    • 69 Metascore
    • 25 Ann Hornaday
    Aimless and unfocused.
    • 76 Metascore
    • 25 Ann Hornaday
    Unlike other movies about unpleasant characters, "In the Company of Men," for example, Chuck & Buck doesn't have that sharp observational edge.
    • Baltimore Sun
    • 23 Metascore
    • 25 Ann Hornaday
    Lowbrow humor is one thing...but Love Stinks sinks the bar beyond comprehension.
    • 35 Metascore
    • 25 Ann Hornaday
    A mean-hearted, ham-handed and gratuitous effort to exploit it's teenage audience's conviction that, underneath it all, their teachers really. do hate them.
    • 17 Metascore
    • 25 Ann Hornaday
    Goes straight to hell, and in this case it is its own handbasket.
    • Baltimore Sun
    • 43 Metascore
    • 25 Ann Hornaday
    This dialogue isn't helped by two actors who look terrific but can barely choke out a word that sounds remotely authentic or spontaneous.
    • Baltimore Sun
    • 65 Metascore
    • 25 Ann Hornaday
    Indeed, Scream is better than the average slasher film, as its advertisers insist. And, indeed, it is probably Wes Craven's best film, as they also insist. But that is a little like saying the pimple on the left side of your nose is "better" than the pimple on the right side.
    • 35 Metascore
    • 25 Ann Hornaday
    With its incomprehensible plot, flat visual style and indecipherably mixed messages (violence is good; no, wait, violence is bad!), this movie seems chiefly to be an excuse to sell even more trading cards.
    • 51 Metascore
    • 25 Ann Hornaday
    It's as if the book itself has been locked up and institutionalized, forced to conform to a system that all but obliterates its own unique personality.
    • Baltimore Sun
    • 23 Metascore
    • 25 Ann Hornaday
    The less said the better.
    • 49 Metascore
    • 25 Ann Hornaday
    Catherine Breillat's pretentious, meandering, self-indulgent portrait of a libidinously deprived young woman is nothing more than pornography tricked out as feminist parable.
    • 24 Metascore
    • 25 Ann Hornaday
    How can we make the entire movie disappear?
    • Baltimore Sun
    • 49 Metascore
    • 25 Ann Hornaday
    As ugly, excessive and vulgar as "The Usual Suspects" was stylish, subtle and suave.
    • 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.
    • 53 Metascore
    • 25 Ann Hornaday
    A film that reduces everything and everyone in its well-worn path to a pretentious trope and, in its final Grand Guignol moments, high camp.
    • 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.