For 1,415 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 2.9 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Selma
Lowest review score: 0 Splice
Score distribution:
1415 movie reviews
    • 86 Metascore
    • 50 Ann Hornaday
    Scrappy and unsubtle where "We Were Here" is elegant and nuanced, How to Survive a Plague isn't nearly as formally beautiful as its predecessor.
    • 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.
    • 83 Metascore
    • 40 Ann Hornaday
    It's a depressing little kingdom, even when Gordon tries desperately to goose the drama with the requisite "Eye of the Tiger" riffs and some junior high-level palace intrigue.
    • 82 Metascore
    • 40 Ann Hornaday
    Put delicately, this is one long sit, made all the more so by a turgid story, a dour visual palette and uninspiring action.
    • 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.
    • 79 Metascore
    • 50 Ann Hornaday
    Gone Girl may get the job done as a dutiful, deliberately paced procedural, but it never quite makes the splash it could have as a thoughtful, timely and thoroughly bracing plunge.
    • 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.
    • 79 Metascore
    • 50 Ann Hornaday
    Never lets viewers fully inside Erik and Paul's world, a reticence that isn't helped by the actors' fey, restrained-to-a-fault performances. That and a frustratingly episodic structure make what might have been a raw and inspiring portrait of commitment and boundaries a surprisingly uninvolving, arms-length enterprise. Keep the Lights On lets go just when it should be holding you tighter.
    • 77 Metascore
    • 60 Ann Hornaday
    The film is ultimately too self-regarding, too smug to be transcendent itself.
    • 77 Metascore
    • 50 Ann Hornaday
    Let's get it out, loud and clear: Jerry Maguire is not a sports movie. It's a stealth chick movie, wrapped in a swaddling of jock stuff so that it gets through guy radar without setting off the missile defenses.
    • 77 Metascore
    • 60 Ann Hornaday
    Make no mistake: The War Tapes is not an overtly political film. It appears to grind no partisan ax nor score either red or blue points. Whether viewers support the war or not -- or find themselves somewhere in the mushy middle -- this documentary won't fit comfortably into the pigeonholes of their preconceptions.
    • 77 Metascore
    • 50 Ann Hornaday
    As pungent as McDonagh’s writing is, it may be his too-easy pessimism that makes Calvary engrossing and thought-provoking, but not great.
    • 76 Metascore
    • 50 Ann Hornaday
    Does it make it as a movie? Only in fits and starts.
    • 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.
    • 76 Metascore
    • 50 Ann Hornaday
    Despite the literal and figurative pains it takes to persuade viewers of its own importance, The Revenant can’t escape the clutches of crippling self-regard.
    • 75 Metascore
    • 50 Ann Hornaday
    What elevates Heaven Knows What above other run-of-the-mill wallows in aimlessness and self-destructive compulsion is Arielle Holmes.
    • 75 Metascore
    • 50 Ann Hornaday
    A bit hard on the posterior, it is definitely easy on the eyes.
    • Baltimore Sun
    • 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.
    • 75 Metascore
    • 50 Ann Hornaday
    Like a gel cap in a sip of orange juice, the psycho-pharmacological thriller Side Effects goes down easily, even if its long-term impact turns out to be barely dis­cern­ible.
    • 74 Metascore
    • 50 Ann Hornaday
    Interstellar tries so hard to be so many things that it winds up shrinking into itself, much like one of the collapsed stars Coop hurtles past on his way to new worlds. For a movie about transcending all manner of dimensions, “Interstellar” ultimately falls surprisingly flat.
    • 74 Metascore
    • 50 Ann Hornaday
    Try as it might to entertain serious notions of manhood, evil and original sin, Prisoners works most effectively as Hollywood hypocrisy at its most sleek, efficient and meretricious. It’s stylish, high-minded hokum.
    • 73 Metascore
    • 50 Ann Hornaday
    It resides in that cinematic middle ground of not-bad, not-great, just okay.
    • 73 Metascore
    • 60 Ann Hornaday
    Will probably appeal most to hard-core fans of Japanese animation and its wide-eyed style, both visual and philosophical.
    • 73 Metascore
    • 60 Ann Hornaday
    The dour, downbeat story eventually spirals into grisly Grand Guignol and contrivance. Still, Gordon-Levitt is superb, and Jeff Daniels delivers a wry and wily performance as Pratt's blind roommate.
    • 73 Metascore
    • 50 Ann Hornaday
    In a textbook example of the have-it-both-ways ethos of self-loathing narcissism, Carell has succeeded in creating a character of old-fashioned decency in a movie that otherwise flouts it at every turn.
    • 72 Metascore
    • 60 Ann Hornaday
    Will probably appeal only to the most committed of Leigh fans.
    • 72 Metascore
    • 60 Ann Hornaday
    Unfolds as a series of meticulous tableaux vivants, but like those parlor pastimes, it lacks physical verve and a compelling emotional charge.
    • 72 Metascore
    • 50 Ann Hornaday
    Pirouettes along a beguiling but treacherous line between horror and whimsy.
    • 72 Metascore
    • 50 Ann Hornaday
    If anything, it's worth watching as yet another example of Lynch's extraordinary collaboration with Dern. It may be overstating things to call her performance heroic, but it's nothing if not brave, as she dares to embody Lynch's most brutal impressions of Hollywood -- not as a dream factory, but as the place where dreams come to die.
    • 72 Metascore
    • 60 Ann Hornaday
    Unfortunately, for all its good music and admirable vocal impersonations, Walk the Line slides -- very, very slowly -- downhill.

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