For 1,466 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Mr. Turner
Lowest review score: 0 The DUFF
Score distribution:
1466 movie reviews
    • 79 Metascore
    • 50 Ann Hornaday
    It succeeds only fitfully. Toggling between Stark's impish goatee and Iron Man's full-metal body condom, and amid so many generic fireballs, kill shots and earsplitting thumps, bumps and crunches, the film finally collapses under its own weight.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a movie guaranteed to please crowds, if only because it insists on their affection so strenuously.
    • 51 Metascore
    • 50 Ann Hornaday
    A slight, modestly funny comedy.
    • 58 Metascore
    • 50 Ann Hornaday
    Thank heaven for Judi Dench, whose M provides Quantum of Solace its sole quantum of peppery brio.
    • 62 Metascore
    • 50 Ann Hornaday
    Baghead provides a diverting showcase for actors you may never have heard of but who deserve a shot at fame and fortune.
    • 72 Metascore
    • 50 Ann Hornaday
    Pirouettes along a beguiling but treacherous line between horror and whimsy.
    • 36 Metascore
    • 50 Ann Hornaday
    It's lame, corny, Ed Woodishly amateurish -- all of which is as lovable as the big lug himself.
    • 61 Metascore
    • 50 Ann Hornaday
    Epitomizes the best and the worst of what animated filmmaking has become in an era dominated on the one hand by ever more sophisticated computerized imagery and, on the other, by the grasping, increasingly grating desire to be hip.
    • 40 Metascore
    • 50 Ann Hornaday
    Although the new version, which stars Keanu Reeves, is likely to make audiences pine for the meta-irony of "Mystery Science Theater 3000," it's not a complete failure.
    • 69 Metascore
    • 50 Ann Hornaday
    The result is that Revolutionary Road is a hard movie to love. Plenty of people will appreciate the hopelessness, but they might wish for a little less emptiness.
    • 70 Metascore
    • 50 Ann Hornaday
    Often astonishingly beautiful, but in a way that's the problem: You wonder what visionaries such as Tim Burton or Michel Gondry might have done with the material. As it is, "Benjamin Button" is little more than "Gump" by way of "Dorian Gray." It plays too safe when it should be letting its freak flag fly.
    • 43 Metascore
    • 50 Ann Hornaday
    Exerts an unmistakable appeal, thanks to an absorbing story and fine performances from Morris Chestnut and Taraji P. Henson.
    • 39 Metascore
    • 50 Ann Hornaday
    That none of the protagonists earns the audience's sympathy is more likely a failure of the real-life characters rather than the actors, who deliver fine performances -- especially Rhys, who seems to be channeling Richard Burton channeling Dylan Thomas at his most manipulatively loutish.
    • 56 Metascore
    • 50 Ann Hornaday
    Has bells and whistles, superb technical sophistication and dazzling visual effects, sound, fury and Reese Witherspoon. What it doesn't have is heart. Like so many vehicles that have popped out from the DreamWorks Animation snark tank, Monsters vs. Aliens is too clever by half.
    • 55 Metascore
    • 50 Ann Hornaday
    A choppy and occasionally unsure film, one that doesn't achieve the superb tonal control of "The Ice Storm," but that certainly doesn't represent an unqualified disaster on a par with Lee's first attempt at the western, "Ride With the Devil."
    • 53 Metascore
    • 50 Ann Hornaday
    If parents feel like they've seen much of Shorts before, its celebration of mayhem and restless, thrill-seeking vibe will absorb young viewers, especially as the boredom of late summer begins to set in.
    • 69 Metascore
    • 50 Ann Hornaday
    Isn't about history or war, or people and their problems, or anything of substance or meaning. It's a movie about other movies. For all its visual bravura and occasional bursts of antic inspiration, it feels trivial, the work of a kid who can't stop grabbing his favorite shiny plaything.
    • 54 Metascore
    • 50 Ann Hornaday
    Yi's self-regarding, ironic tone makes the whole thing feel like a setup, designed more as an indie-chic calling card than a sincere inquiry.
    • 61 Metascore
    • 50 Ann Hornaday
    Exhibits the weaknesses and the strengths of what has become a nearly foolproof formula for keeping viewers engaged.
    • 70 Metascore
    • 50 Ann Hornaday
    Siegel's depiction of the film's supporting characters too often borders on caricature. By the movie's strained, overheated climax, it's clear that Siegel, in his directing debut, is less interested in his protagonist as a character capable of transformation than as a human petri dish of futility and pathology.
    • 49 Metascore
    • 50 Ann Hornaday
    Antichrist finally embodies the contradiction of von Trier: He's a gifted, even visionary, artist mired in his own pulp pretentiousness.
    • 63 Metascore
    • 50 Ann Hornaday
    A movie that feels written rather than lived; from "The Catcher in the Rye" to "Rushmore," it's a story we've seen in better versions before.
    • 51 Metascore
    • 50 Ann Hornaday
    Creation is fatally weakened by an excess of pathos; in a Darwinian universe, it would be quickly swallowed up by a leaner, fitter movie.
    • 45 Metascore
    • 50 Ann Hornaday
    For real sparks keep a look out for Jared Harris in a supporting role that injects a mildly diverting note of corporate intrigue into an otherwise unsurprising procedural.
    • 51 Metascore
    • 50 Ann Hornaday
    Still, if for the most part Death at a Funeral is as tame as the tasteful parlor where most of its action takes place, it manages to explode one taboo, in casting mostly black actors in roles originally played by whites.
    • 57 Metascore
    • 50 Ann Hornaday
    "Everything is achievable through technology," a character says more than once in Iron Man 2. Not so.
    • 64 Metascore
    • 50 Ann Hornaday
    Garca brings his finely calibrated sense of drama to the subject of adoption, which he handles with characteristic restraint and insight -- at least until the film's maudlin, too-pat finale. That sharp melodramatic turn is a shame, because so much of what has gone before in Mother and Child is of real quality.
    • 47 Metascore
    • 50 Ann Hornaday
    A thoroughly unnecessary but nonetheless satisfying adaptation of the cheeseball 1980s TV series.
    • 62 Metascore
    • 50 Ann Hornaday
    Micmacs brings an infectious note of caprice to the old-fashioned caper film.
    • 43 Metascore
    • 50 Ann Hornaday
    Lush, extravagant, sad and touching, Love in the Time of Cholera still feels weirdly insubstantial when all the febrile passion has abated. Like a fever it breaks, passes and is forgotten.

Top Trailers