For 1,319 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 3.4 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Last Days in Vietnam
Lowest review score: 0 Alone in the Dark
Score distribution:
1,319 movie reviews
    • 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.
    • 59 Metascore
    • 30 Ann Hornaday
    An overlong, visually incoherent, mean-spirited and often just plain awful Spider-Man 3.
    • 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?
    • 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.
    • 45 Metascore
    • 30 Ann Hornaday
    Pride and Glory would be risible if it weren't so reprehensible.
    • 47 Metascore
    • 30 Ann Hornaday
    A singularly vulgar piece of work.
    • 53 Metascore
    • 30 Ann Hornaday
    Could be filed under "wacky misfire."
    • 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.
    • 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.
    • 54 Metascore
    • 30 Ann Hornaday
    Seems fatally out of tune, with every staged encounter falling as flat as the protagonist's hot-ironed bob.
    • 39 Metascore
    • 30 Ann Hornaday
    Sloppy compendium of filthy jokes and lowbrow sight gags.
    • 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.
    • 29 Metascore
    • 25 Ann Hornaday
    A lurid, loopy, utterly ludicrous enterprise.
    • 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.
    • 49 Metascore
    • 25 Ann Hornaday
    Akin to watching a ring-tested champion punch far below his weight. What a comedown.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 25 Ann Hornaday
    Even Strong's best efforts can't save John Carter from collapsing in on itself like a dead star.
    • 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.
    • 42 Metascore
    • 25 Ann Hornaday
    So didactic that viewers are likely to feel less uplifted than lectured.
    • 45 Metascore
    • 25 Ann Hornaday
    A sequel every bit as clumsy, ham-handed, outlandish and laughable as the original was sleek, tough and efficient.
    • 27 Metascore
    • 25 Ann Hornaday
    A dreary, dismally unfunny excuse for a romantic comedy.
    • 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.
    • 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.
    • 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.”
    • 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.
    • 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.
    • 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.
    • 25 Metascore
    • 25 Ann Hornaday
    [A] strained, clunkily orchestrated and dismally retrograde film.
    • 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.
    • 38 Metascore
    • 25 Ann Hornaday
    The November Man turns out to be the classic August movie: a triumph of competence over imagination and schlock over taste. Its highest value lies in reminding filmgoers that fall can’t come too soon.
    • 44 Metascore
    • 25 Ann Hornaday
    With a bench this deep, This Is Where I Leave You should have been a comedy of contemporary manners as wickedly funny as it is poignant. In the hands of Levy, it’s become just another forgettable example of low-stakes Hollywood hackwork at its most bland, banal and snipingly belligerent.
    • 57 Metascore
    • 25 Ann Hornaday
    For all of The Equalizer’s overkill, Washington retains an admirable air of seriousness, embodying McCall as a believable figure of purity and protection, even when he’s going after his opponents with methodical, thoughtfully choreographed sadism.
    • 17 Metascore
    • 25 Ann Hornaday
    Goes straight to hell, and in this case it is its own handbasket.
    • Baltimore Sun
    • 49 Metascore
    • 25 Ann Hornaday
    As ugly, excessive and vulgar as "The Usual Suspects" was stylish, subtle and suave.
    • 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
    • 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.
    • 23 Metascore
    • 25 Ann Hornaday
    Lowbrow humor is one thing...but Love Stinks sinks the bar beyond comprehension.
    • 38 Metascore
    • 25 Ann Hornaday
    Just another tepid entry into this year's Death-as-Turn-On Sweepstakes.
    • 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.
    • 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
    • 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
    • 23 Metascore
    • 25 Ann Hornaday
    The less said the better.
    • 44 Metascore
    • 25 Ann Hornaday
    Ultimately groans under the weight of its own quiet gorgeousness.
    • 69 Metascore
    • 25 Ann Hornaday
    Aimless and unfocused.
    • 24 Metascore
    • 25 Ann Hornaday
    How can we make the entire movie disappear?
    • Baltimore Sun
    • 37 Metascore
    • 25 Ann Hornaday
    Fanaro's script never really hones in on the concept's potential.
    • Baltimore Sun
    • 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.
    • 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.
    • 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
    • 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
    • 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
    • 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.
    • 54 Metascore
    • 20 Ann Hornaday
    An exercise in vanity, indulgence and a startling degree of shallowness.
    • 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.
    • 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.
    • 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
    The film would be insufferable if it weren't for the total sincerity and commitment of its players.
    • 32 Metascore
    • 20 Ann Hornaday
    Both a snore and utter tripe.
    • 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.
    • 28 Metascore
    • 20 Ann Hornaday
    The most misguided, ill-conceived and lamentable film.
    • 37 Metascore
    • 20 Ann Hornaday
    A grisly, depraved and wholly uninvolving exercise in empty mannerism.
    • 39 Metascore
    • 20 Ann Hornaday
    It's trivial and narcissistic and ultimately rather sordid.
    • 39 Metascore
    • 20 Ann Hornaday
    Anemic, pretentious.
    • 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.
    • 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?
    • 16 Metascore
    • 10 Ann Hornaday
    A depraved, incoherent, instantly disposable piece of hackery.
    • 27 Metascore
    • 10 Ann Hornaday
    Tries desperately to lower the bar for scatological gags, rank sexual humor and cheap physical shots.
    • 19 Metascore
    • 10 Ann Hornaday
    To call it sophomoric would libel even the most pathetic, pimply underclassman.
    • 53 Metascore
    • 10 Ann Hornaday
    Terribly tragic, terribly romantic and, ultimately, terribly, terribly dull.
    • 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
    • 24 Metascore
    • 10 Ann Hornaday
    Leaden, laugh-free, lacking anything resembling a heart, mind or soul.
    • 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.
    • 50 Metascore
    • 10 Ann Hornaday
    The promise of its premise is squandered all too soon in what becomes yet another tiresome exercise in the way-overworked zombie genre.
    • 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.
    • 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.
    • 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.
    • 39 Metascore
    • 0 Ann Hornaday
    Tammy is a bummer, not least because McCarthy’s fans know she’s better than this.
    • 30 Metascore
    • 0 Ann Hornaday
    Johnson and Wayans are both gifted comic performers but are given way too little to do in a film that wends its way from set piece to set piece, not with antic glee but desultory and-then-this-happens randomness.
    • 56 Metascore
    • 0 Ann Hornaday
    Between its grating heroine, strident speechifying, derivative plot and draggy tone and tempo, it’s like the redheaded stepchild of “Mean Girls” and “Freaky Friday.”
    • 33 Metascore
    • 0 Ann Hornaday
    Idiotic, ugly and ridiculous.
    • Baltimore Sun

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