For 1,345 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 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Stories We Tell
Lowest review score: 0 Undiscovered
Score distribution:
1,345 movie reviews
    • 45 Metascore
    • 30 Ann Hornaday
    Pride and Glory would be risible if it weren't so reprehensible.
    • 45 Metascore
    • 25 Ann Hornaday
    A sequel every bit as clumsy, ham-handed, outlandish and laughable as the original was sleek, tough and efficient.
    • 45 Metascore
    • 25 Ann Hornaday
    Haphazardly conceived, phlegmatically paced, lazily filmed and punctuated with gratuitous moments of sexual and scatological slapstick.
    • 45 Metascore
    • 30 Ann Hornaday
    Never gels into the smart, tightly orchestrated cat-and-mouse game that it promises to be.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 30 Ann Hornaday
    This romantic melodrama ... doesn't even get to first base.
    • 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."
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 25 Ann Hornaday
    Ultimately groans under the weight of its own quiet gorgeousness.
    • 43 Metascore
    • 30 Ann Hornaday
    9 Songs inadvertently proves just how limited experimentation for its own sake can be.
    • 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?
    • 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
    • 43 Metascore
    • 30 Ann Hornaday
    In a summer of surprisingly self-serious comic book movies" Lara Croft "stands out as being particularly humorless.
    • 42 Metascore
    • 25 Ann Hornaday
    It leaves audiences in a limbo every bit as torturous as the one the protagonist is in.
    • 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.
    • 42 Metascore
    • 25 Ann Hornaday
    So didactic that viewers are likely to feel less uplifted than lectured.
    • 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.
    • 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.
    • 42 Metascore
    • 0 Ann Hornaday
    Depraved, worthless piece of filth.
    • 42 Metascore
    • 33 Ann Hornaday
    The Loss of Sexual Innocence is belabored, pretentious and often willfully opaque. [25 Jun 1999]
    • Baltimore Sun
    • 41 Metascore
    • 30 Ann Hornaday
    The loudest, trashiest, stupidest, cheesiest celebration of ritualized male aggression of 2004.
    • 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.
    • 40 Metascore
    • 37 Ann Hornaday
    Even at its lamest and most entitled, this sequel will most likely please fans of the first installment, chiefly because Bateman, Sudeikis and Day are, admittedly, often very funny together.
    • 40 Metascore
    • 30 Ann Hornaday
    An inert, sloppily written melodrama as grim and featureless as its frozen Midwestern setting.
    • 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.
    • 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

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