For 1,302 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 3.3 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Toy Story 2
Lowest review score: 0 Splice
Score distribution:
1,302 movie reviews
    • 55 Metascore
    • 63 Ann Hornaday
    The problem with Hyde Park on Hudson isn't its suggestion of FDR's dark side. That complexity, and Murray's spot-on portrayal of a man juggling myriad pressures and demands, from petty to momentous, marks one of the film's greatest strengths. It's that Daisy rarely comes into her own as more than the pliant emotional helpmeet to the Great Man.
    • 55 Metascore
    • 38 Ann Hornaday
    Dark Shadows doesn't know where it wants to dwell: in the eerie, subversive penumbra suggested by its title or in playful, go-for-broke camp.
    • 55 Metascore
    • 70 Ann Hornaday
    Spiked with some genuine show-stopping musical numbers, and the sheer pluck of its young cast is nothing if not admirable.
    • 55 Metascore
    • 30 Ann Hornaday
    At once listless and overheated, giddy and utterly zipless, the current incarnation lacks not just the savoir-faire of its stylish predecessor but also the sex appeal.
    • 55 Metascore
    • 37 Ann Hornaday
    2 Guns feels like it’s all been done before, whether by John Woo, Michael Bay or any number of their CGI-happy clones.
    • 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.
    • 55 Metascore
    • 70 Ann Hornaday
    Even as the derivative roots of Nim's Island are clearly visible, kids will no doubt vicariously enjoy Nim's adventures and Edenic existence. And how refreshing, for once, to see a girl embark on derring-do that, in Nim's own words, makes her the hero of her own story.
    • 55 Metascore
    • 50 Ann Hornaday
    Jack Black and Kyle Gass bring characters they created for the HBO program "Mr. Show With Bob and David" to the big screen with mixed success, depending on the age, gender and degree of inebriation of the filmgoer.
    • 55 Metascore
    • 40 Ann Hornaday
    If listing the cast of Love Actually is exhausting, it's even more tiring to watch it.
    • 55 Metascore
    • 70 Ann Hornaday
    If Casa de los Babys isn't necessarily a fully realized film, it's still a deeply felt glimpse into dizzyingly complex political and psychological forces that shape the most crucial decisions of a woman's life.
    • 55 Metascore
    • 70 Ann Hornaday
    A perfect example of a really good not-great movie, the kind that would be classified as a guilty pleasure were it not executed with guilt-free honesty and good nature.
    • 55 Metascore
    • 50 Ann Hornaday
    Despite their Everyman appeal, Damon and Krasinski don't create much by way of emotional investment, instead becoming mirror images of their most mild-mannered, white-bread selves.
    • 55 Metascore
    • 75 Ann Hornaday
    Agora, Alejandro Amenábar's absorbing historical drama, proves that, in an era of movies made for iPhones with artistic ambitions to match, there are still filmmakers willing to swing for the fences.
    • 55 Metascore
    • 50 Ann Hornaday
    Reese Witherspoon paces and cries through Rendition in a performance that does as much a disservice to her talent as the movie does to the issues it raises.
    • 55 Metascore
    • 38 Ann Hornaday
    A jagged little pill of a movie from baby boomer avatar Edward Zwick.
    • 55 Metascore
    • 63 Ann Hornaday
    In The Conspirator, Wright announces in no uncertain terms that she is back and more than ready for her close-up.
    • 55 Metascore
    • 38 Ann Hornaday
    Michael Caine delivers a stunning performance in Harry Brown, a rancid little revenge fantasy that probably doesn't deserve him.
    • 55 Metascore
    • 60 Ann Hornaday
    As vivid as many scenes are, there are just as many that seem taken directly out of the Cute Irish Movie notebook.
    • 55 Metascore
    • 50 Ann Hornaday
    At its best, Woman Thou Art Loosed conveys the unfathomable meaning behind those words.
    • 55 Metascore
    • 90 Ann Hornaday
    Has Blanchett and Jones to its credit. To watch them is to take in two of the screen's greatest natural wonders.
    • 55 Metascore
    • 50 Ann Hornaday
    For those who crave mannerisms and shtick and like their jokes set up and knocked out with plenty of arrows and quote marks, Baby Mama may fall flat. But audiences alive to the modest charms of its take on female friendship will be rewarded with at least a few quiet chuckles.
    • 55 Metascore
    • 50 Ann Hornaday
    Modestly amusing teen summer comedy.
    • 55 Metascore
    • 50 Ann Hornaday
    Childlike, fetishistic and painfully literal, Luhrmann’s experiment proves once again that it’s Fitzgerald’s writing — not his plot, his characters or his grasp of material detail — that has always made “Gatsby” great.
    • 54 Metascore
    • 63 Ann Hornaday
    Content to be sparkly when it should be sharp-edged and shrewd; it has the potential to roar like a lion, but instead it lays lambs at our feet.
    • 54 Metascore
    • 30 Ann Hornaday
    Belabored, ostentatious, overlong behemoth.
    • 54 Metascore
    • 20 Ann Hornaday
    An exercise in vanity, indulgence and a startling degree of shallowness.
    • 54 Metascore
    • 63 Ann Hornaday
    The story's more sober elements are regularly leavened by hip visual flourishes and even some quiet comedy.
    • 54 Metascore
    • 50 Ann Hornaday
    The unevenness of The Secret Life of Walter Mitty, and Stiller’s recessive characterization of the title character, keep it from being an all-out crowd-pleaser.
    • 54 Metascore
    • 63 Ann Hornaday
    Has a sweetness to it that's irresistible, and its techno, trance and jungle soundtrack is as infectious and hypnotic as a contact high.
    • Baltimore Sun
    • 54 Metascore
    • 50 Ann Hornaday
    As with so many recent literary adaptations, it was the writing that was the art, not its infrastructure of plot and character.
    • Baltimore Sun
    • 54 Metascore
    • 63 Ann Hornaday
    While Sparkle doesn't give the audience a lasting memory of Houston's voice at its most soaring, it does manage to provide a lingering sense of loss, mixed with celebration and grim irony.
    • 54 Metascore
    • 70 Ann Hornaday
    It succeeds, with a big, false-eyelashed wink.
    • 54 Metascore
    • 30 Ann Hornaday
    Seems fatally out of tune, with every staged encounter falling as flat as the protagonist's hot-ironed bob.
    • 54 Metascore
    • 70 Ann Hornaday
    One of the great strengths of CSNY is how skillfully it deflects criticism of "four balding hippie millionaires" taking to the stage to criticize American politics; the film is peppered with excerpts from some of the tour's earliest and nastiest critics.
    • 54 Metascore
    • 20 Ann Hornaday
    The film would be insufferable if it weren't for the total sincerity and commitment of its players.
    • 54 Metascore
    • 50 Ann Hornaday
    When the tone goes from daffy to dour in the course of a harrowing plot point, the story becomes more forced than fierce.
    • 54 Metascore
    • 70 Ann Hornaday
    Bobby, even if it suffers from a few silly scenes, gets more right than it does wrong.
    • 54 Metascore
    • 50 Ann Hornaday
    Can a performance be too good? Meryl Streep disappears so uncannily into former British prime minister Margaret Thatcher in The Iron Lady that her performance overpowers the movie it's in - a perfectly executed triple axel that renders everything else just featureless ice.
    • 54 Metascore
    • 50 Ann Hornaday
    Yi's self-regarding, ironic tone makes the whole thing feel like a setup, designed more as an indie-chic calling card than a sincere inquiry.
    • 54 Metascore
    • 40 Ann Hornaday
    Still breaks the first and only commandment of remakes: Thou shall at the very least do justice to the original, or thou shall not be made at all.
    • 53 Metascore
    • 70 Ann Hornaday
    May not be great cinema, but it's a guaranteed crowd-pleaser.
    • 53 Metascore
    • 70 Ann Hornaday
    Audiences craving big, gooey over-the-top romance have their must-see summer movie in The Notebook.
    • 53 Metascore
    • 50 Ann Hornaday
    If parents feel like they've seen much of Shorts before, its celebration of mayhem and restless, thrill-seeking vibe will absorb young viewers, especially as the boredom of late summer begins to set in.
    • 53 Metascore
    • 75 Ann Hornaday
    Burton finely balances excess and restraint to create an absorbing, visually rich world of his very own.
    • 53 Metascore
    • 50 Ann Hornaday
    Somehow, the comic chemistry never seems to ignite in The Big Year.
    • 53 Metascore
    • 75 Ann Hornaday
    Grounded in the direct, disarming truth of their experience, the movie has a straightforward lack of cheap sentiment that saves it from being either too maudlin or saccharine-sweet.
    • 53 Metascore
    • 70 Ann Hornaday
    Manages to navigate the era of cellphones and Mean Girls with retro nostalgia and wholesomeness, making it a rare girl-powered outing for tweens in an otherwise guy-centric summer.
    • 53 Metascore
    • 70 Ann Hornaday
    It's less a movie than a delivery system for sensory pleasures, sunny romance and designer-label stuff that in real life would result in diabetic shock (or at least a ruined credit rating).
    • 53 Metascore
    • 70 Ann Hornaday
    Until those final moments, Flightplan succeeds admirably, both as a sophisticated psychological thriller and as an example of, if not great art, then superb craftsmanship.
    • 53 Metascore
    • 30 Ann Hornaday
    Never manages to achieve the balance between authenticity and eccentricity.
    • 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.
    • 53 Metascore
    • 30 Ann Hornaday
    As a director, Solondz seems to have his own locked-in fate -- to favor caricature over compassion -- and his movies are the worse for it.
    • 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.
    • 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.
    • 53 Metascore
    • 30 Ann Hornaday
    Could be filed under "wacky misfire."
    • 53 Metascore
    • 80 Ann Hornaday
    A wildly ambitious, luridly indulgent spectacle of romance, action, melodrama and historic revisionism, Australia is windy, overblown, utterly preposterous and insanely entertaining.
    • 53 Metascore
    • 58 Ann Hornaday
    As a tasteful take on a minor novel, Metroland is genteel enough, but it lacks the urgency and scope of a must-see movie. [07 May 1999]
    • Baltimore Sun
    • 53 Metascore
    • 10 Ann Hornaday
    Terribly tragic, terribly romantic and, ultimately, terribly, terribly dull.
    • 52 Metascore
    • 37 Ann Hornaday
    White House Down never quite seems to decide what kind of movie it wants to be, although by firepower alone it qualifies as this summer’s most cartoonishly bombastic exercise in sensory overload (so far).
    • 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.
    • 52 Metascore
    • 50 Ann Hornaday
    Lives up to Tarantino's imprimatur, both in its cheesy grind house aesthetic and its occasional forays into brilliant, bravura filmmaking.
    • 52 Metascore
    • 20 Ann Hornaday
    This overproduced romantic comedy doesn't even qualify as fluff; it's flat, featureless plastic.
    • 52 Metascore
    • 40 Ann Hornaday
    Parading through most of the movie in a cutoff T-shirt and bikini briefs, Ricci takes the stereotype of the oversexed farmer's daughter to gothic extremes; Jackson's character, named Lazarus, is similarly drawn with oversize strokes.
    • 52 Metascore
    • 60 Ann Hornaday
    It doesn't open up much new territory, except to eschew much of the dark, frank sexuality that has characterized such recent sexual coming-of-age movies as "Mysterious Skin." Instead, Bardwell offers a cheerful, if sometimes strenuously earnest, take on a subject that seems overdue for a lighthearted touch.
    • 52 Metascore
    • 40 Ann Hornaday
    A slick, earnest, ultimately inert adaptation of the eponymous book of the Bible.
    • 52 Metascore
    • 75 Ann Hornaday
    The Switch, to its credit, really is about a boy, who with the help of a sensitive, sad-eyed kid, stands a chance of becoming a man.
    • 52 Metascore
    • 50 Ann Hornaday
    Instead of a crackling good movie in which "The Longest Yard" meets, say, "The Bad News Bears," director Phil Joanou instead decided to make Gridiron Gang a lugubrious tutorial on the importance of being a winner.
    • 52 Metascore
    • 30 Ann Hornaday
    Dark, dank, damp, grim, dingy and dour, Dark Water is a tasteful but unremitting bummer.
    • 52 Metascore
    • 50 Ann Hornaday
    It plods along dutifully, with the occasional zigzag into contrivance, tidy coincidence and outright preposterousness.
    • 52 Metascore
    • 30 Ann Hornaday
    It's piddling -- a hangdog little comedy with not enough laughs...its spirit rattles around inside it like a marble in an oil drum.
    • 52 Metascore
    • 30 Ann Hornaday
    It's a remarkable, if appalling, spectacle of self-abasement. But of course, that's Sandler's specialty.
    • 52 Metascore
    • 50 Ann Hornaday
    Ping Pong Summer may not be an instant classic, but it knows its time and place. There’s a humble honor in that.
    • 52 Metascore
    • 70 Ann Hornaday
    The films of Michel Gondry aren't for everyone, but viewers who vibe to his playful, cerebral, wildly imaginative sensibility might get a kick out of Be Kind Rewind.
    • 52 Metascore
    • 75 Ann Hornaday
    A kinetically charged gridiron drama that is enormous fun to watch.
    • Baltimore Sun
    • 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.
    • 52 Metascore
    • 70 Ann Hornaday
    Quietly, with pathos and tinges of melancholy humor, Valentin pays homage to the heroism of creating your own world when the one that's on offer breaks your heart.
    • 52 Metascore
    • 63 Ann Hornaday
    The Monuments Men often lets the schematic gears show, succumbing to threadbare formula and sentimental cliches rather than taut, sophisticated drama.
    • 52 Metascore
    • 70 Ann Hornaday
    The compulsively watchable Owen makes for an ideal leading man of both action and angst. The film's eye-popping set piece, a shootout at the Guggenheim Museum, is an extravagantly choreographed valentine to philistines everywhere.
    • 52 Metascore
    • 63 Ann Hornaday
    Nivola and Breslin make a terrific mismatched pair in a film that often resembles a mash-up of "Crazy Heart" and Sofia Coppola's "Somewhere," which may account for why it too often feels derivative and contrived.
    • 52 Metascore
    • 50 Ann Hornaday
    It’s difficult to believe a word of Labor Day, but then again you don’t have to in order to luxuriate in Winslet and Brolin’s bubbling, steaming chemistry.
    • 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.
    • 51 Metascore
    • 30 Ann Hornaday
    The stars of First Descent aren't particularly memorable, or even likable. At their worst, they come off as cocky, self-absorbed Peter Pans; at their best, they're sweet but shallow.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a downbeat, indulgent and self-consciously quirky little movie.
    • 51 Metascore
    • 63 Ann Hornaday
    Due Date isn't pretty; in fact, it gets kind of ugly. But, at least in the eyes of certain beholders, therein lies its peculiar, bent beauty.
    • 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
    • 51 Metascore
    • 25 Ann Hornaday
    Even Strong's best efforts can't save John Carter from collapsing in on itself like a dead star.
    • 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.
    • 51 Metascore
    • 10 Ann Hornaday
    Shouldn't fool viewers into thinking it's anything but a pseudo-artsy piece of tripe.
    • 51 Metascore
    • 30 Ann Hornaday
    Should have been a smart bit of cinematic froth but instead sinks like an overworked souffle.
    • 51 Metascore
    • 70 Ann Hornaday
    By turns fascinating, puzzling and troubling -- a deeply felt account of the varieties of religious experience but also a thoroughly uncritical apologia for fanaticism.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a movie guaranteed to please crowds, if only because it insists on their affection so strenuously.
    • 51 Metascore
    • 63 Ann Hornaday
    An all-star revue of some of the most physically stunning actors working in Hollywood, Think Like a Man is a pleasure if only on a purely sensory level.
    • 51 Metascore
    • 75 Ann Hornaday
    Aside from Lillard, the stand-out here is Cook, who plays a new breed of post-feminist Cinderella with a convincing mix of seriousness and vulnerability (although just once, it would be nice if Cinderella could keep her glasses on and still be beautiful). With her doe eyes and peaches-and-organic-yogurt complexion, Cook resembles a young Winona Ryder (if that's possible), right down to the appealing blend of sweetness and self-assurance. [29 Jan 1999: 1E]
    • Baltimore Sun
    • 51 Metascore
    • 50 Ann Hornaday
    Aquamarine is better than nothing for its woefully underserved audience.
    • 51 Metascore
    • 50 Ann Hornaday
    A slight, modestly funny comedy.
    • 51 Metascore
    • 50 Ann Hornaday
    Creation is fatally weakened by an excess of pathos; in a Darwinian universe, it would be quickly swallowed up by a leaner, fitter movie.
    • 51 Metascore
    • 40 Ann Hornaday
    It's a sprawling experiment in philosophical time travel and metaphysical noodling. And it's an earnest, magnificent wreck.
    • 51 Metascore
    • 30 Ann Hornaday
    In reality, Eros is a letdown, a collection of bagatelles that, with one exception, fails to live up to its promise.
    • 51 Metascore
    • 50 Ann Hornaday
    An emotional thriller that is by turns contrived and impassioned.
    • 51 Metascore
    • 63 Ann Hornaday
    A film of modest ambition and workmanlike pacing, it breaks little new ground, either in form or content. Then again, that may be the point.
    • 51 Metascore
    • 60 Ann Hornaday
    Within this structurally baggy weepie, at least two perfectly good movies fight to break free, one a provocative legal thriller, the other a melodrama.
    • 50 Metascore
    • 50 Ann Hornaday
    With Anonymous, director Roland Emmerich gives us "Shakespeare in Luck." Make that "Dumb Luck": In this alternately entertaining and wildly ham-handed speculative romp.
    • 50 Metascore
    • 50 Ann Hornaday
    Closed Circuit is intriguing, even mildly diverting. That might have been fine for another film at another time, but in light of the here and now, this one should have been more.
    • 50 Metascore
    • 63 Ann Hornaday
    Eat Pray Love finally settles into its own cinematic destiny as an attractive escapist love story, in which the romance is more with the I than with the guy.
    • 50 Metascore
    • 75 Ann Hornaday
    There's good trash: throwaway, intellectually undemanding action movies that, despite their heavy body counts and hard edges, are executed with a touch of class and a sunny disposition.
    • 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.
    • 50 Metascore
    • 38 Ann Hornaday
    Jack Reacher is a wildly ill-advised miscalculation, with Cruise's virtually unstoppable appeal butting uncomfortably against Reacher's alternately cocky and downright crude cynicism.
    • 50 Metascore
    • 37 Ann Hornaday
    The Zero Theorem doesn’t fully earn the elaborately conceived scaffolding on which its relatively tame ideas are hoisted.
    • 50 Metascore
    • 38 Ann Hornaday
    Anne Fletcher's lifeless comedy about an overbearing mother and her exasperated adult son, has no flawlessly delivered punch lines. It doesn't even have a hangnail.
    • 50 Metascore
    • 70 Ann Hornaday
    Purists will howl at the liberties Shainberg has taken with the facts, but there's a bravery to Fur, an uncompromising commitment to its narrow focus -- of one woman's creative birth -- that rhymes with Arbus's own artistic courage.
    • 50 Metascore
    • 50 Ann Hornaday
    Tends toward the broadest possible takes on slapstick, sophomoric sexuality and post-"Hangover" raunch.
    • 50 Metascore
    • 20 Ann Hornaday
    If you find yourself at "The Island" I have only three words of advice: Vote yourself off.
    • 50 Metascore
    • 60 Ann Hornaday
    An uneven, sophomoric and only fitfully funny omnibus of skits, The Ten is one of those silly-on-purpose ensemble exercises that must have been wildly fun to make.
    • 50 Metascore
    • 63 Ann Hornaday
    A carefully conceived and earnest movie that announces its many points just a bit too carefully and earnestly.
    • Baltimore Sun
    • 50 Metascore
    • 63 Ann Hornaday
    A loving throwback to the classic westerns and sci-fi adventures of yore, this celebration of two of cinema's most revered genres doesn't stint in lavishing their most cherished conventions with even-handed affection and respect.
    • 49 Metascore
    • 63 Ann Hornaday
    A bland also-ran in a post-"Sopranos" universe.
    • 49 Metascore
    • 75 Ann Hornaday
    It's just another modest, unsurprising little heist flick. So why is it so much fun? Newman.
    • 49 Metascore
    • 60 Ann Hornaday
    Might provide a much-needed fix for Mac's most ardent fans, but they'll have to wait for a star vehicle that fully exploits the range of his comic gifts.
    • 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.
    • 49 Metascore
    • 70 Ann Hornaday
    The movie's sweet, gentle nature may lack the subtle irony of the "Toy Storys" and "Shreks" of the world, but parents won't be bored.
    • 49 Metascore
    • 50 Ann Hornaday
    Pereira goes in for lots of time shifts and split screens, piling on the contrivances like so many costume baubles when a single string of pearls would do.
    • 49 Metascore
    • 50 Ann Hornaday
    As a piece of filmed entertainment, The Fifth Estate shows why things like authorial point of view and visual sensibility are so essential in bringing such stories to life. Unlike its most obvious predecessor, “The Social Network,” this film doesn’t have much of either, and the weakness shows.
    • 49 Metascore
    • 70 Ann Hornaday
    Surprisingly nimble and fun to watch, mostly thanks to the magnificent dogs Hoffman has found to portray his lead characters, and thanks to the actors he cast as the animals' voices.
    • 49 Metascore
    • 25 Ann Hornaday
    As ugly, excessive and vulgar as "The Usual Suspects" was stylish, subtle and suave.
    • 49 Metascore
    • 50 Ann Hornaday
    Antichrist finally embodies the contradiction of von Trier: He's a gifted, even visionary, artist mired in his own pulp pretentiousness.
    • 49 Metascore
    • 50 Ann Hornaday
    Little more than a sleek, stylish stunt.
    • 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.
    • 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
    • 49 Metascore
    • 50 Ann Hornaday
    If I had to sum up Tristan & Isolde for a term paper, I'd say it's like "Braveheart" without the face paint, "Shrek," except the Lord Farquaad character is a sweetheart, and "Freaks and Geeks" because James Franco is so hot, even in Orlando Bloom-y ringlets.
    • 49 Metascore
    • 70 Ann Hornaday
    There's nothing wrong with the moral of The Ultimate Gift's story; in fact there's everything right about it. But director Michael O. Sajbel too often succumbs to movie-of-the-week sentimentality and starchy pacing. Still, Breslin's captivating performance reminds you why she was recently nominated for an Oscar.
    • 49 Metascore
    • 60 Ann Hornaday
    With a slick visual style similar to "Monster House", Open Season trots out tropes that recent animated classics have done with more wit and smarts.
    • 49 Metascore
    • 38 Ann Hornaday
    Gerwig remains one of the most captivating new stars to hit the big screen, but she's still looking for a movie that deserves her.
    • 49 Metascore
    • 50 Ann Hornaday
    Mary McDonnell, as Nat's patient wife, provides too-brief clarity as Nat goes off the rails, finally taking the movie with him.
    • 49 Metascore
    • 38 Ann Hornaday
    At some point the foul language, lascivious sight gags, references to sex toys, violence against animals and cruelty toward children simply ceases to be funny.
    • Baltimore Sun
    • 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.
    • 49 Metascore
    • 25 Ann Hornaday
    Akin to watching a ring-tested champion punch far below his weight. What a comedown.
    • 49 Metascore
    • 30 Ann Hornaday
    An extraordinary collective act of moral and physical courage is relegated to a backdrop for a mushy, synthetic family melodrama.
    • 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.
    • 48 Metascore
    • 60 Ann Hornaday
    The sexual frankness is refreshing. As Suzette and Lavinia banter, their dialogue often suggests how "Sex and the City" might sound 20 years hence.
    • 48 Metascore
    • 30 Ann Hornaday
    Two-hour exercise in chaotic action and coarse, annoyingly coy sexuality.
    • 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.
    • 48 Metascore
    • 50 Ann Hornaday
    Possesses an undeniable heart. The bad news is that it will still be buried underneath layers of stale Sandlerisms tomorrow, and the next day, and the next.
    • 48 Metascore
    • 37 Ann Hornaday
    A movie that, despite its strenuous efforts to appear hardened and sexy and sleek, is unforgivably phony, talky and dull.
    • 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.
    • 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.
    • 48 Metascore
    • 30 Ann Hornaday
    Whether it's the sight of Reynolds squeezed painfully into a football uniform or the endless footballs-to-the-crotch and tired gay jokes, The Longest Yard has the feeling of mutton dressed as lamb.
    • 48 Metascore
    • 63 Ann Hornaday
    One Day often seems too tame for its own good, as if its spirited protagonists were censoring themselves in deference to a PG-13 rating.
    • 48 Metascore
    • 63 Ann Hornaday
    Sensory pleasures abound in Black Nativity, which is grounded by Forest Whitaker and Angela Bassett’s performances as Langston’s strict, God-fearing grandparents.
    • 48 Metascore
    • 70 Ann Hornaday
    It's a fun ride, and the big payoff -- that history turns out to be way cooler than its reputation suggests -- is even more gratifying. Bully!
    • 48 Metascore
    • 70 Ann Hornaday
    It's as predictable and comforting as a Happy Meal, but it must be said that The Proposal manages to elicit some genuinely amusing moments.
    • 48 Metascore
    • 70 Ann Hornaday
    Cage is back in crackling good form in National Treasure: Book of Secrets.
    • 48 Metascore
    • 30 Ann Hornaday
    Traffics in nearly every trite cliche of the "colorful" South one can think of, from its pseudo-Gothic aesthetic to its overripe dialogue.
    • 47 Metascore
    • 70 Ann Hornaday
    Fun With Dick and Jane has lived up to its title: It's fun, and that's fine.
    • 47 Metascore
    • 40 Ann Hornaday
    Falls as flat as a bottle of corked Bordeaux.
    • 47 Metascore
    • 38 Ann Hornaday
    (Perry and Willis) are blown off the screen by Amanda Peet and Natasha Henstridge.
    • 47 Metascore
    • 60 Ann Hornaday
    Even within what often looks like a self-indulgent exercise in humiliation, pain and gratuitous gore, there is no denying the moments of genuine and powerful feeling in The Passion of the Christ -- some of which, by the way, evoke Jesus's most profound teachings of Jewish principles.
    • 47 Metascore
    • 60 Ann Hornaday
    Admittedly, this is the stuff of lurid adolescent distraction, not great cinema. Jennifer's Body is strictly a niche item but provides a goofy, campy bookend to "Drag Me to Hell" on the B-movie shelf. Watch it, forget it, move on.
    • 47 Metascore
    • 38 Ann Hornaday
    This fitfully funny but mostly dull misfire defines exactly where the line can be drawn between truly subversive humor and lazy cynicism.
    • 47 Metascore
    • 40 Ann Hornaday
    But for all its passion and topical currency, the movie plays too often like a college colloquium. And it ends on an unsatisfying note, with each character's choice, whether fateful or fatal, hanging in a confounding limbo of indeterminacy.
    • 47 Metascore
    • 70 Ann Hornaday
    Offers audiences a real rarity in theaters these days: a good, honest cry.
    • 47 Metascore
    • 38 Ann Hornaday
    Little more than an electronic press kit for the band, produced for the benefit of its fans.
    • Baltimore Sun
    • 47 Metascore
    • 63 Ann Hornaday
    Burlesque delivers eyeful after eyeful of rapid-fire opulence and spectacle. But its most memorable sight is the indelible image of one star taking flight, and another triumphantly staying put.
    • 47 Metascore
    • 50 Ann Hornaday
    Restless is saved from movie-of-the-week soppiness by its plucky lead actors; by now we assume (correctly) that Wasikowska will infuse her character with lucid, clear-eyed warmth.
    • 47 Metascore
    • 30 Ann Hornaday
    A singularly vulgar piece of work.
    • 47 Metascore
    • 40 Ann Hornaday
    Canadian director Atom Egoyan delivers a rare misfire with Where the Truth Lies, a shockingly fatuous murder mystery with pseudo-intellectual pretensions.
    • 47 Metascore
    • 50 Ann Hornaday
    Katherine Heigl makes an official bid for America's Sweetheart in her sophomore effort, 27 Dresses, a romantic comedy that -- despite her undeniable, apple-cheeked appeal -- sags like a day-old bouquet.
    • 47 Metascore
    • 40 Ann Hornaday
    Silly? Contrived? Vapid? You bet. Put more simply, "The Prince & Me" is . . . cute.
    • 47 Metascore
    • 75 Ann Hornaday
    Thanks to a sensitive performance from Kinnear, as well as from a terrific cast of supporting actors, what could have been merely a feel-good exercise in Eschatology Lite instead becomes a wholesome but also surprisingly tough-minded portrait of a man wrestling with his faith.
    • 47 Metascore
    • 75 Ann Hornaday
    In its own way, the movie version — handsomely directed by Phillip Noyce and featuring an appealing, sure-footed cast of emerging and veteran actors — aptly reflects The Giver’s pride of place as the one that started it all, or at least the latest wave.
    • 47 Metascore
    • 70 Ann Hornaday
    The appeal of The Skeleton Key lies not in its plot but in its attention to detail, and the way director Iain Softley (still on probation for "K-PAX," but nevertheless the guy who did "Backbeat") luxuriates in the deeply textured sights and sounds of Louisiana.
    • 47 Metascore
    • 38 Ann Hornaday
    Rock of Ages gets too mired in plotty cul de sacs, manufactured setbacks and numbers that are all staged as show-stoppers. In the words of the Journey song that serves as a climactic singalong, it goes on and on and on and on.
    • 47 Metascore
    • 30 Ann Hornaday
    The frightening myths about adoption that run through Like Mike make even its happiest endings a little bit creepy.
    • 47 Metascore
    • 75 Ann Hornaday
    At one point, Frank contemplates a wheeled suitcase and infuses in that one moment the sweetness and vulnerability of E.T. See Everybody's Fine, but one piece of advice: Phone home first.
    • 47 Metascore
    • 63 Ann Hornaday
    The best reason to see 44 Inch Chest is simply to behold some of the finest actors working today, especially Winstone -- who can embody winsomeness and menace in one sweaty, unkempt glance -- and the woefully underemployed Dillane.
    • 47 Metascore
    • 30 Ann Hornaday
    Outlandish, uneven, preposterous and often maddeningly morbid.
    • 47 Metascore
    • 50 Ann Hornaday
    A thoroughly unnecessary but nonetheless satisfying adaptation of the cheeseball 1980s TV series.
    • 47 Metascore
    • 30 Ann Hornaday
    It winds up being tuneless, unfunny and, despite its strenuous efforts, not terribly sexy.
    • 47 Metascore
    • 63 Ann Hornaday
    Von Trier has assembled a fearless troupe of gifted actors - especially Jorgensen - to explore the outer reaches of human cruelty and vulnerability.
    • Baltimore Sun
    • 46 Metascore
    • 50 Ann Hornaday
    His [Director Mike Figgis's] techniques do make the film at least watchable.
    • 46 Metascore
    • 63 Ann Hornaday
    Even at its most wrenchingly painful, the film readily delivers generous dollops of pleasure.
    • 46 Metascore
    • 50 Ann Hornaday
    At once belabored and muddled movie, whose dreamy visual style and daring sexual material can't elide glaring inconsistencies in tone, plot and logic.
    • 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.
    • 46 Metascore
    • 30 Ann Hornaday
    A movie that sags and drags under the weight of poor pacing, execrable writing and largely unlikable characters.
    • 46 Metascore
    • 70 Ann Hornaday
    Artfully structured, combining old-school MGM-type musical numbers with occasional postmodern flourishes to keep the narrative moving.
    • 46 Metascore
    • 38 Ann Hornaday
    Bullock's character goes through some changes, but she never turns into some unrecognizably serious actress.
    • Baltimore Sun
    • 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.
    • 46 Metascore
    • 63 Ann Hornaday
    It's the kind of movie that succeeds as a culmination of moments that ring true and sweet.
    • 46 Metascore
    • 50 Ann Hornaday
    The most controversial thriller of the year turns out to be about as exciting as watching your parents play Sudoku.
    • 46 Metascore
    • 70 Ann Hornaday
    These two generate real, slow-burning rapport, so that you're still pulling for them even during a gratingly preposterous climax.
    • 46 Metascore
    • 70 Ann Hornaday
    This is a movie that starts silly and just gets sillier -- at one point Candice Bergen shows up with a Buddhist monk -- but its laughs are sweet-natured, and Heaven knows the lead players earn every one.
    • 46 Metascore
    • 70 Ann Hornaday
    A star isn't born in El Cantante as much as it's reconfirmed. She's still here, and she's still got it.
    • 46 Metascore
    • 50 Ann Hornaday
    An unobjectionable if uninspired updating of a classic family story for the minivan generation.
    • 46 Metascore
    • 30 Ann Hornaday
    An endless, virtually laugh-free pastiche of Aaron Sorkin by way of Aaron Spelling, Chasing Liberty features Mandy Moore trying so strenuously to be the next America's Sweetheart that she almost pops a vein.
    • 45 Metascore
    • 50 Ann Hornaday
    At once daring and hackneyed, absorbing and off-putting, a triumph of one sort and, more lastingly, a failure of another.
    • 45 Metascore
    • 50 Ann Hornaday
    High-grade cheese, the sort of highly pitched melodrama that in the 1950s would have been the stuff of a lurid, lavishly staged Douglas Sirk picture.
    • 45 Metascore
    • 50 Ann Hornaday
    For real sparks keep a look out for Jared Harris in a supporting role that injects a mildly diverting note of corporate intrigue into an otherwise unsurprising procedural.
    • 45 Metascore
    • 30 Ann Hornaday
    May look good cavorting prettily on deck, but ultimately it deserves to walk the plank.
    • 45 Metascore
    • 30 Ann Hornaday
    Another soundtrack-driven, disposable, not entirely objectionable teen movie.
    • 45 Metascore
    • 30 Ann Hornaday
    Shockingly inert.
    • 45 Metascore
    • 0 Ann Hornaday
    This toxic, contemptuous, unforgivably unfunny bagatelle finds Allen at his most misanthropically one-note.
    • 45 Metascore
    • 60 Ann Hornaday
    It's a warm, if pallid, romantic comedy that may not do much more to burnish Lopez's reputation, but will certainly not bruise it.
    • 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.
    • 45 Metascore
    • 63 Ann Hornaday
    It's not meant to be scary. It's meant to be Disney -- a fun and warm children's fantasy.
    • 45 Metascore
    • 80 Ann Hornaday
    A smart, marvelously drawn account of the bravery of homing pigeons during World War II.
    • 45 Metascore
    • 75 Ann Hornaday
    On Stranger Tides feels as fresh and bracingly exhilarating as the day Jack Sparrow first swashed his buckle.
    • 45 Metascore
    • 30 Ann Hornaday
    Pride and Glory would be risible if it weren't so reprehensible.
    • 45 Metascore
    • 60 Ann Hornaday
    At the movie's thoroughly expected conclusion, a visual joke has a bedraggled cat licking at the icing on a wedding cake, but it's really Melanie who gets to have it and eat it, too.
    • Washington Post
    • 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
    • 60 Ann Hornaday
    No matter how much fun it is to watch -- and for hard-core movie fans, it is often enormous fun -- there's a certain relief when it stops and we're popped back out to our banal, one-track lives.
    • 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.
    • 45 Metascore
    • 63 Ann Hornaday
    A super-stoked action thriller
    • 45 Metascore
    • 50 Ann Hornaday
    Both lead players are appealing and attractive enough to make an otherwise tepid movie at least un-excruciating.
    • 44 Metascore
    • 50 Ann Hornaday
    A generic, fitfully funny mainstream comedy that doesn’t nearly get the best from its name-brand players but doesn’t qualify as a desecration, either.
    • 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
    • 63 Ann Hornaday
    Provides an arresting journey through the Japanese countryside and culture.
    • 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
    • 70 Ann Hornaday
    Music video director Simon Brand makes an impressively taut debut with Unknown, a nifty little psychological crime thriller that suggests a "Treasure of the Sierra Madre" for the postindustrial age.
    • 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
    • 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.
    • 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
    • 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
    • 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.
    • 43 Metascore
    • 40 Ann Hornaday
    The kind of bland, generic, high-concept midsummer comedy that drives a critic to the thesaurus in search of new ways to say "vapid."
    • 43 Metascore
    • 50 Ann Hornaday
    Lush, extravagant, sad and touching, Love in the Time of Cholera still feels weirdly insubstantial when all the febrile passion has abated. Like a fever it breaks, passes and is forgotten.
    • 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
    • 50 Ann Hornaday
    Exerts an unmistakable appeal, thanks to an absorbing story and fine performances from Morris Chestnut and Taraji P. Henson.
    • 43 Metascore
    • 50 Ann Hornaday
    An uneasy mix between "Eternal Sunshine of the Spotless Mind" and the "The X-Files," and one not nearly as smart as either.
    • 43 Metascore
    • 50 Ann Hornaday
    Trust the Man quickly begins to feel hopelessly derivative of other, better movies.
    • 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
    • 70 Ann Hornaday
    Okay, the concept for the movie is admittedly lame, but there's absolutely nothing wrong with watching a passel of adorable pooches wrinkle their brows and bark while human voices come out of their mouths.
    • 41 Metascore
    • 40 Ann Hornaday
    But despite doing its best to jiggle, giggle and ogle its way into a niche somewhere between "Heathers" and "American Pie," it becomes just another forgettable pastiche of sight gags and pop-culture references.
    • 41 Metascore
    • 50 Ann Hornaday
    Possesses its share of modest laughs, many of them delivered by Ted Danson as Bridget's bemused husband. But director Callie Khouri (best known for writing "Thelma & Louise") doesn't bring the dash needed to make this a comic heist on a par with "Ocean's Eleven."
    • 41 Metascore
    • 30 Ann Hornaday
    The loudest, trashiest, stupidest, cheesiest celebration of ritualized male aggression of 2004.
    • 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.
    • 41 Metascore
    • 50 Ann Hornaday
    Lovely to look at and listen to but doesn't reward any closer study.
    • 41 Metascore
    • 50 Ann Hornaday
    Ice Cube and Tracy Morgan are the nominal stars of First Sunday, but it's Katt Williams who steals the show in this by turns trite and mildly amusing B-comedy.
    • 41 Metascore
    • 50 Ann Hornaday
    Olympus Has Fallen at least possesses the frisson of timeliness amid otherwise hoary action-movie cliches.
    • 41 Metascore
    • 50 Ann Hornaday
    Like its own protagonists, Kick-Ass 2 can’t decide what it wants to be when it grows up: a vessel for unhinged vengeance and destruction or a meta-critique of those same impulses. In going for both, it winds up being neither.
    • 41 Metascore
    • 50 Ann Hornaday
    Owen Wilson phones it in with Drillbit Taylor, a by-the-numbers teen comedy.
    • 41 Metascore
    • 75 Ann Hornaday
    A bawdy, brainy sex comedy geared toward smart people with a sophomoric streak.
    • 41 Metascore
    • 50 Ann Hornaday
    Dogs and the women who love them form the warm and gooey center of Darling Companion, Lawrence Kasdan's fitfully amusing comedy-drama.
    • 40 Metascore
    • 50 Ann Hornaday
    A throwback to 1970s blaxploitation flicks, with a Latin accent, Illegal Tender would be a brassy, sassy guilty pleasure if it were more, well, pleasurable.
    • 40 Metascore
    • 63 Ann Hornaday
    As earnest as the performances are, something seems to be lost in the translation.
    • 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
    • 50 Ann Hornaday
    Nightwatch is passable stuff for undiscriminating fans of the ickier-the-better genre; for the rest of us, it offers nothing new. [17 Apr 1998]
    • Baltimore Sun
    • 40 Metascore
    • 60 Ann Hornaday
    He has a knack for creating vivid characters even in the briefest of vignettes in his live act, many of which are taken from his life, growing up poor in Greenbelt.
    • 40 Metascore
    • 50 Ann Hornaday
    Intriguing, if uneven, thriller.
    • 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
    • 50 Ann Hornaday
    Although the new version, which stars Keanu Reeves, is likely to make audiences pine for the meta-irony of "Mystery Science Theater 3000," it's not a complete failure.
    • 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
    • 39 Metascore
    • 38 Ann Hornaday
    As it is, the audience must content itself with baby poop, naughty words and the female anatomy at its pneumatic extreme, while Bateman and Reynolds's search for transcendence continues.
    • 39 Metascore
    • 50 Ann Hornaday
    Has its modest charms.
    • 39 Metascore
    • 30 Ann Hornaday
    Sloppy compendium of filthy jokes and lowbrow sight gags.
    • 39 Metascore
    • 50 Ann Hornaday
    That none of the protagonists earns the audience's sympathy is more likely a failure of the real-life characters rather than the actors, who deliver fine performances -- especially Rhys, who seems to be channeling Richard Burton channeling Dylan Thomas at his most manipulatively loutish.
    • 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.
    • 39 Metascore
    • 30 Ann Hornaday
    Indeed it looks as if this otherwise straight-to-video endeavor, which was made in 2003, is being released only to cash in on Bernal's of-the-moment-ness in Hollywood.
    • 39 Metascore
    • 20 Ann Hornaday
    It's trivial and narcissistic and ultimately rather sordid.
    • 39 Metascore
    • 20 Ann Hornaday
    Anemic, pretentious.
    • 39 Metascore
    • 37 Ann Hornaday
    Although The Other Woman nibbles around the edges of revealing truths about relationships, it leaves most of that potential behind, instead pursuing easy, exhausted cliches about zip-less marriages, upper class suburban drudgery, cynical careerism and dumb-but-sweet blondes.
    • 39 Metascore
    • 38 Ann Hornaday
    One of the weaknesses of The Sitter is that Hill doesn't develop much comic chemistry with the children.
    • 39 Metascore
    • 0 Ann Hornaday
    Tammy is a bummer, not least because McCarthy’s fans know she’s better than this.
    • 39 Metascore
    • 38 Ann Hornaday
    Director Scott Hicks lavishes good taste and sunsets on a story that - devoid of genuine tension, conflict or combustible chemistry between its two stars - just prettily sits there.
    • 38 Metascore
    • 50 Ann Hornaday
    Threatens to become a serious movie, but they're quickly overwhelmed by another indecipherable rampage or outsize visual effect.
    • 38 Metascore
    • 30 Ann Hornaday
    A retread of material already thoroughly plumbed by Martin Scorsese.
    • 38 Metascore
    • 70 Ann Hornaday
    Uma Thurman delivers a mesmerizing performance in The Life Before Her Eyes, a film that, once seen and fully digested, exerts the same haunting pull as the shattering events it chronicles.
    • 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.
    • 38 Metascore
    • 70 Ann Hornaday
    A tame, fitfully amusing and generally inoffensive romantic comedy.
    • 38 Metascore
    • 50 Ann Hornaday
    Character-rich, but plot-poor.
    • 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.
    • 38 Metascore
    • 50 Ann Hornaday
    A picaresque romance of self-discovery that delivers a near-constant flow of small delights until veering too far into screwball preposterousness.
    • 38 Metascore
    • 37 Ann Hornaday
    Reiner assembles a square meal of rom-com pleasure points, but it’s bland, by-the-numbers and not particularly memorable.
    • 38 Metascore
    • 30 Ann Hornaday
    So cheesy and cheap that it almost attains high camp.
    • 38 Metascore
    • 30 Ann Hornaday
    Most of the humor in The Pink Panther derives from Martin's silly French accent, especially when he tries to pronounce the word "hamburger." But zat joke, she ees not funny. And The Pink Panther ees, how you say, ze real dog.
    • 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.
    • 38 Metascore
    • 25 Ann Hornaday
    Just another tepid entry into this year's Death-as-Turn-On Sweepstakes.
    • 38 Metascore
    • 30 Ann Hornaday
    An unsurprising, undistinguished piece of post-summer, pre-holiday detritus.
    • 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.
    • 37 Metascore
    • 37 Ann Hornaday
    Adore at its core is a bore, nothing more.
    • 37 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.
    • 37 Metascore
    • 37 Ann Hornaday
    As is true with so much of Haggis’s work, Third Person suffers from an airless, too-neat lack of connection with organic life.
    • 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.
    • 37 Metascore
    • 37 Ann Hornaday
    Don’t expect to see a great film, or even a very good one. Whether you discover a meaningful channel with which to continue your walk with the film’s protagonist, however, is strictly between you and your god.
    • 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.”

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