For 1,417 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 2.8 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Son of Saul
Lowest review score: 0 Tideland
Score distribution:
1417 movie reviews
    • 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
    • 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.
    • 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.
    • 75 Metascore
    • 50 Ann Hornaday
    The best we can do, Goodbye to Language suggests, is to be as attuned, instinctive and spontaneous as beasts in a state of nature. Or maybe that’s not what the movie is saying at all. Godard leaves his enterprise adamantly open-ended, the better for viewers to supply their own metaphors, meanings and moral implications.
    • 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.
    • 68 Metascore
    • 50 Ann Hornaday
    “No No” performs the valuable service of elevating Ellis’s legacy beyond one game, reminding viewers of a career during which he was almost always, as one observer notes, “a chapter ahead.”
    • 76 Metascore
    • 50 Ann Hornaday
    Even with Hudson's triumphant arrival and an overall fizzy mood of singing, dancing, pop nostalgia and camp, Dreamgirls is an uneven crowd pleaser.
    • 68 Metascore
    • 50 Ann Hornaday
    It's one of those movies whose appeal depends on the viewer's tolerance for watching French people suffer, smoke and sigh prettily.
    • Baltimore Sun
    • 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.
    • 66 Metascore
    • 50 Ann Hornaday
    Good points aside, In Good Company is a bland, occasionally phlegmatic pastiche of cliches and dull encounters.
    • 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.
    • 38 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.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Ann Hornaday
    Thank heaven for William H. Macy, whose portrayal of Happy's sheriff strikes the only honest note in a film that earns its laughs the cheap way.
    • Baltimore Sun
    • 57 Metascore
    • 50 Ann Hornaday
    First-time director Chris Gorak is no Rod Serling, and in his hands the enterprise tends toward the lurid, especially after his nifty third-act twist.
    • 57 Metascore
    • 50 Ann Hornaday
    May not be perfect but must be given credit for all that it does right.
    • 46 Metascore
    • 50 Ann Hornaday
    His [Director Mike Figgis's] techniques do make the film at least watchable.
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    Fake or not, Unknown White Male doesn't live up to its tantalizing potential.
    • 35 Metascore
    • 50 Ann Hornaday
    It's difficult to know whom to root for.
    • 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."
    • 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.
    • 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.
    • 51 Metascore
    • 40 Ann Hornaday
    It's a sprawling experiment in philosophical time travel and metaphysical noodling. And it's an earnest, magnificent wreck.
    • 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
    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.
    • 56 Metascore
    • 40 Ann Hornaday
    Falters when it falls into exploitation (Irena's flashbacks to scenes of depraved sexual torture) and fatal contrivance.
    • 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.
    • 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."

Top Trailers