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 2.5 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Jimi: All Is by My Side
Lowest review score: 0 Splice
Score distribution:
1466 movie reviews
    • 51 Metascore
    • 50 Ann Hornaday
    Still, if for the most part Death at a Funeral is as tame as the tasteful parlor where most of its action takes place, it manages to explode one taboo, in casting mostly black actors in roles originally played by whites.
    • 69 Metascore
    • 50 Ann Hornaday
    The result is that Revolutionary Road is a hard movie to love. Plenty of people will appreciate the hopelessness, but they might wish for a little less emptiness.
    • 63 Metascore
    • 50 Ann Hornaday
    The best part of Walk Hard, oddl enough, is the music. I might not care to see Walk Hard" a second time, but I can't wait to hear it again.
    • 52 Metascore
    • 50 Ann Hornaday
    Triple 9 feels more like a collection of good scenes than a novel, propulsive whole. Viewers are apt to be entertained by the film’s visceral pulp pleasures, but left apathetic when it comes to its instantly forgettable genre cliches.
    • 62 Metascore
    • 50 Ann Hornaday
    Micmacs brings an infectious note of caprice to the old-fashioned caper film.
    • 62 Metascore
    • 50 Ann Hornaday
    As affectionately as Taylor has brought The Help to the screen, and as gratifying as it is to watch Davis and Spencer bring Aibileen and Minny to palpable, fully rounded life, their narrative, like "The Blind Side" a few years ago, is structured largely around their white female benefactor.
    • 55 Metascore
    • 50 Ann Hornaday
    At its best, Woman Thou Art Loosed conveys the unfathomable meaning behind those words.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a downbeat, indulgent and self-consciously quirky little movie.
    • 61 Metascore
    • 50 Ann Hornaday
    An action thriller that adamantly refuses to deliver action or thrills, instead engaging in a brand of arty, self-conscious formalism rarely seen outside repertory theaters or cinema-studies classrooms.
    • 57 Metascore
    • 50 Ann Hornaday
    "Everything is achievable through technology," a character says more than once in Iron Man 2. Not so.
    • 52 Metascore
    • 50 Ann Hornaday
    This drab exercise in glum piety slumps where it should soar, sapping the story of its mystery and transcendence with an overriding sense of literality.
    • 65 Metascore
    • 50 Ann Hornaday
    All the God-talk and philosophical musings about morality and "meeting our makers" aside, Prometheus is primarily about delivering those visceral, terrifying jolts. That it does so without generating the taut suspense and moody atmosphere of its antecedents qualifies as one of its greatest failings.
    • 43 Metascore
    • 50 Ann Hornaday
    This would have made a fascinating film if Freedomland were one movie. Instead, it turns into several movies, none fully realized. What could have been an unusually smart police procedural becomes a sprawling, overwrought melodrama that itself morphs into a sort of spiritual romance.
    • 41 Metascore
    • 50 Ann Hornaday
    Lovely to look at and listen to but doesn't reward any closer study.
    • 57 Metascore
    • 50 Ann Hornaday
    Macdonald (“The Last King of Scotland,” “State of Play”) does a passable job of evoking post-apocalyptic atmosphere in How I Live Now, although the film suffers from uneven tone — is it a teen romance or wartime adventure? — and, ultimately, a regrettable lack of focus.
    • 39 Metascore
    • 50 Ann Hornaday
    Unfortunately, Provoked possesses the tiny production values and schmaltzy music of a prime-time special, despite its ensemble of terrific actors.
    • 81 Metascore
    • 50 Ann Hornaday
    Upon leaving The Big Short, audiences are likely to feel less enlightened than bludgeoned with a blunt instrument, albeit one wrapped in layers of eye-catching silks and spangles: You may be too old to cry, but it hurts too much to laugh.
    • 73 Metascore
    • 50 Ann Hornaday
    It resides in that cinematic middle ground of not-bad, not-great, just okay.
    • 49 Metascore
    • 50 Ann Hornaday
    As skillful an artist as Range clearly is, he has gone to an awful lot of trouble to make a painfully obvious point about threats to civil liberties in a post-9/11 world.
    • 61 Metascore
    • 50 Ann Hornaday
    Epitomizes the best and the worst of what animated filmmaking has become in an era dominated on the one hand by ever more sophisticated computerized imagery and, on the other, by the grasping, increasingly grating desire to be hip.
    • 53 Metascore
    • 50 Ann Hornaday
    Despite all the swooping and spinning and swinging in The Amazing Spider-Man 2, Garfield looks less like a kid having fun than like an actor entangled in a corporate web that, at least for now, he can’t escape.
    • 68 Metascore
    • 50 Ann Hornaday
    Even filmmakers and actors as fine as these haven’t managed to solve one of cinema’s most enduring challenges — making criminals interesting without exalting them.
    • 58 Metascore
    • 50 Ann Hornaday
    Whimsical, fantastical and self-consciously charming, it slinks around viewers’ ankles like an affectionate cat, purring ever more loudly until the audience can’t help but succumb.
    • 53 Metascore
    • 50 Ann Hornaday
    Irrational Man isn’t a comedy. There are, however, moments that invite rueful chuckles of recognition, especially when Posey’s character is giving Abe the business. She strikes a welcome madcap note in what is otherwise a series of bland medium shots of people talking.
    • 43 Metascore
    • 50 Ann Hornaday
    Terrific looking in the extreme, The Beach is the movie equivalent of vacation reading: no more demanding -- and no less satisfying -- than a sandy paperback left on a damp towel.
    • Baltimore Sun
    • 38 Metascore
    • 50 Ann Hornaday
    To its credit, Men, Women & Children seems to allow for a rational middle ground between technophobic Luddites and the lamentably over-wired. It never turns down the moral panic entirely, but neither does it let it completely boil over.
    • 38 Metascore
    • 50 Ann Hornaday
    Threatens to become a serious movie, but they're quickly overwhelmed by another indecipherable rampage or outsize visual effect.
    • 65 Metascore
    • 50 Ann Hornaday
    Unexpected would have been enriched by a more generous balance between the two characters’ worlds. But Swanberg shows a sure, sensitive hand in limning the upshots and downsides of life’s most blessed events.
    • 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.
    • 56 Metascore
    • 50 Ann Hornaday
    If it’s a bit dull, and too dependent on a what-I-learned voice-over to make its points, it can still be applauded for resisting the temptation to overreach.

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