For 1,265 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 3.1 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Whale Rider
Lowest review score: 0 The Babysitters
Score distribution:
1,265 movie reviews
    • 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.
    • 64 Metascore
    • 70 Ann Hornaday
    Like the mix tapes that obsess its main characters, Nick & Norah's Infinite Playlist builds into something of infectious joy.
    • 57 Metascore
    • 70 Ann Hornaday
    With its urgent post-9/11 context and often brutal violence, it seems off-key to describe Body of Lies as a nifty political thriller, but that's what it is.
    • 58 Metascore
    • 70 Ann Hornaday
    The Express finesses a cinematic hat trick: It's entertaining, deeply moving and genuinely important.
    • 82 Metascore
    • 70 Ann Hornaday
    Combines the derring-do of classic adventure tales with far more serious issues of moral agency. And it serves as a haunting reminder to seek joy and beauty, even in the depths of despair.
    • 57 Metascore
    • 70 Ann Hornaday
    Exudes genuine appeal, thanks to director Kenny Ortega's brilliant choreography and a gifted cast.
    • 68 Metascore
    • 70 Ann Hornaday
    Just when you begin to think you know who the cat and mouse really are, in steps Viola Davis to steal not just her scene but the entire movie from Streep.
    • 58 Metascore
    • 70 Ann Hornaday
    Bernhard Schlink's highly regarded novel "The Reader" receives a graceful, absorbing screen adaptation by director Stephen Daldry.
    • 57 Metascore
    • 70 Ann Hornaday
    Winds up being a touching portrait of that rarity in the movies: a recognizably human couple with recognizably human problems and quirks.
    • 58 Metascore
    • 70 Ann Hornaday
    It's impossible to watch Defiance without experiencing a vicarious thrill of resistance and revenge.
    • 62 Metascore
    • 70 Ann Hornaday
    Thanks to an accomplished cast, anchored by Elsner and Wepper, and observant filmmakers, very little in Cherry Blossoms is lost in translation.
    • 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.
    • 61 Metascore
    • 70 Ann Hornaday
    Hollywood loves the heroics of good intentions, but this movie is just as interested in the road to hell.
    • 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.
    • 36 Metascore
    • 70 Ann Hornaday
    It will all look pretty ridiculous to grown-ups, but to 13-year-old boys (and adults with well-tended inner versions thereof), Biker Boyz will be the perfect testosterone-fueled, flash-edited, music-driven joy ride.
    • 58 Metascore
    • 70 Ann Hornaday
    May not be the most nutritious movie on the table, but it lives up to its sweet promise.
    • 59 Metascore
    • 70 Ann Hornaday
    Even with its flaws should be cheered for preserving the later years of these towering musical talents.
    • 56 Metascore
    • 70 Ann Hornaday
    Always predictable in its outcome, but it still retains a certain charm, mostly because of Meadows's cheerful sympathy and affection for his motley crew of characters.
    • 35 Metascore
    • 70 Ann Hornaday
    Will prove infectious to those audiences who find themselves sharing the director's frivolous frame of mind.
    • 71 Metascore
    • 70 Ann Hornaday
    Clara Khoury delivers a performance that is luminous, fierce and intensely focused as the title character of Rana's Wedding.
    • 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.
    • 69 Metascore
    • 70 Ann Hornaday
    The movie can't help but resonate with a ripped-from-the-headlines topicality.
    • 75 Metascore
    • 70 Ann Hornaday
    The power of this quiet little film lies in the lyricism of its images of life on Bangladesh's waterways and in its towns...and in the naturalistic performances from its cast of mostly nonprofessional actors.
    • 54 Metascore
    • 70 Ann Hornaday
    It succeeds, with a big, false-eyelashed wink.
    • 64 Metascore
    • 70 Ann Hornaday
    A gorgeous, if disjointed, spectacle, made endurable – if not entirely comprehensible – by its eye-popping cast.
    • 59 Metascore
    • 70 Ann Hornaday
    A wartime epic in the most flamboyant, operatic tradition of the genre.
    • 38 Metascore
    • 70 Ann Hornaday
    A tame, fitfully amusing and generally inoffensive romantic comedy.
    • 59 Metascore
    • 70 Ann Hornaday
    Packing a dizzying array of motives and tensions into his careful, densely layered round robin, LaBute orchestrates The Shape of Things like a suspense thriller, full of hidden agendas and emotional switchbacks.
    • 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.
    • 61 Metascore
    • 70 Ann Hornaday
    The main reason to see Criminal isn't for the mental workout it might offer but simply to watch these two appealing performers act and act and act.
    • 78 Metascore
    • 70 Ann Hornaday
    Slow going, but it provides an absorbing glimpse of a rarely seen side of Chinese life.
    • 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.
    • 72 Metascore
    • 70 Ann Hornaday
    A sweet, even delectable diversion from the more explosive cinematic fare of the season.
    • 56 Metascore
    • 70 Ann Hornaday
    A amusing trifle that might fit somewhere between "The Big Lebowski" and "Intolerable Cruelty"; for those expecting "Fargo," it's no "Fargo."
    • 59 Metascore
    • 70 Ann Hornaday
    Most important, the film has a terrific supporting character in St. Marie herself, portrayed by the real Canadian island of Harrington Harbour (pop. 300).
    • 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.
    • 70 Metascore
    • 70 Ann Hornaday
    A lucid, emotionally affecting portrait not just of one man but of his times.
    • 60 Metascore
    • 70 Ann Hornaday
    A shorter version of which was shown last year in a series of house parties sponsored by the anti-Bush organizations MoveOn.org and the Center for American Progress -- Greenwald marshals dozens of impeccably credentialed witnesses to debunk the case made for going to war.
    • 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.
    • 59 Metascore
    • 70 Ann Hornaday
    Watching Spacek dance around the bedroom, slowly loosening up while Laura Nyro plays, is one of the joys of this cinematic season.
    • 56 Metascore
    • 70 Ann Hornaday
    A movie that longs for a return to a cinema that, rather than marketing, merchandise and corporate synergy, is about the mysteries that flicker to life after the lights go down.
    • 53 Metascore
    • 70 Ann Hornaday
    May not be great cinema, but it's a guaranteed crowd-pleaser.
    • 67 Metascore
    • 70 Ann Hornaday
    In Fahrenheit 9/11, Moore largely stays out of the picture, and the film is the better for it. But otherwise his style hasn't changed.
    • 46 Metascore
    • 70 Ann Hornaday
    Artfully structured, combining old-school MGM-type musical numbers with occasional postmodern flourishes to keep the narrative moving.
    • 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.
    • 68 Metascore
    • 70 Ann Hornaday
    Becker handles the film's comedy with fluency.
    • 47 Metascore
    • 70 Ann Hornaday
    Offers audiences a real rarity in theaters these days: a good, honest cry.
    • 67 Metascore
    • 70 Ann Hornaday
    Garden State features some wonderful performances, chief among them an engaging, even courageous turn from Natalie Portman.
    • 71 Metascore
    • 70 Ann Hornaday
    It's at once too restrained and too perversely funny to have emanated from the play-it-big-but-play-it-safe sensibilities of Hollywood, U.S.A.
    • 57 Metascore
    • 70 Ann Hornaday
    If "13 Going on 30" isn't exactly original, it's still reasonably cool.
    • 77 Metascore
    • 70 Ann Hornaday
    There's no doubt that Eminem has the talent and presence of a star. It's just a shame that the filmmakers didn't capture his power with mad skillz of their own.
    • 75 Metascore
    • 70 Ann Hornaday
    Full of heart-rending moments, in which people of good faith search for answers to what, in the end, remain painfully irreconcilable questions.
    • 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.
    • 66 Metascore
    • 70 Ann Hornaday
    Family Law never really gets to the nitty-gritty of the Perelmans' fraught relationship, instead maintaining a gently ironic distance that, while admirable in its restraint, ultimately lacks emotional fire.
    • 60 Metascore
    • 70 Ann Hornaday
    Clocking in at two hours-plus, Glastonbury at times gives viewers the impression that they're slogging through the three-day plunge into mud, music and madness themselves. But for all the posers with light sticks and piercings, there are moments of Dada-esque beauty, not to mention some great music.
    • 69 Metascore
    • 70 Ann Hornaday
    Harrowing, controlled and diabolically self-assured, Joshua leaves filmgoers teetering on their own emotional precipice, wondering just where pathos ends and pathology begins.
    • 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.
    • 72 Metascore
    • 70 Ann Hornaday
    The Life of Reilly pays fitting homage to a man who deserves to be remembered for much more than just trading double-entendres with Brett Somers on "The Match Game."
    • 60 Metascore
    • 70 Ann Hornaday
    Must-see viewing for anyone who thinks of Christmas as just a mall and its night visitors.
    • 75 Metascore
    • 70 Ann Hornaday
    Whether they're navigating a recently flooded Prague or the pristine waters of a Tuscan swimming pool, the fiends and angels who populate Beauty in Trouble are like so many scorpions explaining why they sting the fabled frog trying to help them: "It's my nature."
    • 78 Metascore
    • 70 Ann Hornaday
    Argento and Aattou deliver appropriately outsize performances to fit the movie's sense of extravagant escapism, and Claude Sarraute delivers a slyly witty performance as the elderly lady carried away by Ryno's Scheherazade-like tale.
    • 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.
    • 77 Metascore
    • 70 Ann Hornaday
    The result is a vivid portrait, not just of one unforgettable young man but also of a country in transition.
    • 59 Metascore
    • 70 Ann Hornaday
    But by far the most powerful element is N'Dour's lone voice, a thing of high, pure beauty that feels at once ancient and new. When he sings, an otherwise earnestly conventional film becomes a vehicle of incantatory power.
    • 64 Metascore
    • 63 Ann Hornaday
    The Road possesses undeniable sweep and a grim kind of grandeur, but it ultimately plays like a zombie movie with literary pretensions.
    • 76 Metascore
    • 63 Ann Hornaday
    At its best, The Last Station vividly illustrates the enduring Russian gift for iconography, whether spiritual, secular or something in between.
    • 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
    • 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.
    • 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.
    • 81 Metascore
    • 63 Ann Hornaday
    Not nearly as accomplished narratively as it is visually.
    • 63 Metascore
    • 63 Ann Hornaday
    The jittery, scattershot camerawork of Greengrass's longtime cinematographer, Barry Ackroyd, was used far more coherently in Kathryn Bigelow's Oscar-winning "The Hurt Locker," and the constant blurry close-ups of computer screens and street-level scrums lose their power with each successive cut.
    • 49 Metascore
    • 63 Ann Hornaday
    A bland also-ran in a post-"Sopranos" universe.
    • 56 Metascore
    • 63 Ann Hornaday
    Its mood of ennui and dread will haunt long after its title character's beaming grin has faded.
    • 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.
    • 60 Metascore
    • 63 Ann Hornaday
    Depends on breezy attitude and effortless delivery for its success.
    • 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
    • 62 Metascore
    • 63 Ann Hornaday
    Kasdan has assembled a stellar cast of supporting players to lend this low-key tale some interest.
    • 61 Metascore
    • 63 Ann Hornaday
    This isn't your father's Stuart Little, but youngsters will be delighted. Mostly.
    • 54 Metascore
    • 63 Ann Hornaday
    The story's more sober elements are regularly leavened by hip visual flourishes and even some quiet comedy.
    • 40 Metascore
    • 63 Ann Hornaday
    As earnest as the performances are, something seems to be lost in the translation.
    • 33 Metascore
    • 63 Ann Hornaday
    Ends up being more about her hair (Meg Ryan's) than anything else.
    • Baltimore Sun
    • 70 Metascore
    • 63 Ann Hornaday
    Almereyda has done a splendid job of rendering Hamlet as expressive visually as it is verbally.
    • Baltimore Sun
    • 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
    • 69 Metascore
    • 63 Ann Hornaday
    Can be recommended even if just for the presence of Elaine May, who turns in her most charmingly ditzy performance since "A New Leaf."
    • 86 Metascore
    • 63 Ann Hornaday
    Too sketchy about her protagonist's interior life, and too fast and loose with the details of this story, to make much of an impact beyond its initial shock.
    • Baltimore Sun
    • 90 Metascore
    • 63 Ann Hornaday
    Has the sentiment and sweetness of a good coming-of-age movie but lacks the drive and pulse that makes for a great rock and roll movie.
    • Baltimore Sun
    • 30 Metascore
    • 63 Ann Hornaday
    The story of the triumphant underdog is irresistible, even when every single plot point comes marching down Main Street.
    • 65 Metascore
    • 63 Ann Hornaday
    An uneven, if lively, diversion.
    • 66 Metascore
    • 63 Ann Hornaday
    Keeps filmgoers wondering what will happen next even as they are repulsed by what's happening in front of them.
    • Baltimore Sun
    • 44 Metascore
    • 63 Ann Hornaday
    Provides an arresting journey through the Japanese countryside and culture.
    • 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.
    • 56 Metascore
    • 63 Ann Hornaday
    Dinner for Schmucks has already raised hackles in the Yiddish-speaking community for the breathtakingly offensive epithet in its title (and it's not "dinner"). But it turns out that this comedy of humiliation, starring Paul Rudd and Steve Carell, isn't nearly as off-putting as it might have been.
    • 62 Metascore
    • 63 Ann Hornaday
    Resourceful, if occasionally forced, teen melodrama.
    • 45 Metascore
    • 63 Ann Hornaday
    A super-stoked action thriller
    • 90 Metascore
    • 63 Ann Hornaday
    A tough movie to love.
    • 69 Metascore
    • 63 Ann Hornaday
    Epitomizes the kind of somber, aesthetically refined and morally engaged film that commands deep respect without inspiring much affection.
    • 65 Metascore
    • 63 Ann Hornaday
    A well-made, excruciating exercise in containment and sustained suspense. It's a breakout moment for Reynolds. Is it a fun hour and a half? No. But it succeeds within its own straitened contours. It's an intriguing squirm. Now, please get me outta here.
    • 60 Metascore
    • 63 Ann Hornaday
    RED
    Unlike "Wild Hogs" or last summer's "The Expendables," this adaptation of the "Red" graphic novel series gets into a cool, sophisticated swing.
    • 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.
    • 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.
    • 57 Metascore
    • 63 Ann Hornaday
    All Good Things is creepy and weird and sad, and little else.
    • 46 Metascore
    • 63 Ann Hornaday
    It's the kind of movie that succeeds as a culmination of moments that ring true and sweet.
    • 85 Metascore
    • 63 Ann Hornaday
    At its best, The Tree of Life makes the viewer lean forward, eager to enter Malick's own dreamy, poetic consciousness. At worst, it leads to the vague feeling that we're listening to the meanderings of someone who's not sure we're smart enough to keep up.
    • 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.
    • 63 Metascore
    • 63 Ann Hornaday
    If Kunis gets the showier role in Friends With Benefits, Timberlake proves a quietly charming stalking horse, finally claiming and fully owning the spotlight with a hilarious homage to the 1990s rap duo Kriss Kross.
    • 72 Metascore
    • 63 Ann Hornaday
    All too often the plot feels calculated rather than organic, the result of a time-tested formula rather than genuine innovation.
    • 71 Metascore
    • 63 Ann Hornaday
    The Girl With the Dragon Tattoo may want it both ways, getting its tawdry kicks while tsk-tsking those who deliver them in real life, but Mara's bristling, unbridled performance gives the film the ballast it needs to pull off that curious, undeniably engrossing, balancing act.
    • 73 Metascore
    • 63 Ann Hornaday
    There's a place in the movies for wish fulfillment, no doubt, including the wish for it all to be over.
    • 68 Metascore
    • 63 Ann Hornaday
    Sadly, Herge isn't around to see The Adventures of Tintin, Spielberg's crisp, richly rendered animated adaptation, which could be counted as both a success and a failure. Spielberg has brought Tintin to the big screen all right, but not quite to life.
    • 66 Metascore
    • 63 Ann Hornaday
    The good news is that Garfield and Stone whip up a warm, convincing froth as two teenagers caught up in a beguiling case of puppy love. The not-so-great news is that by "reboot," the studio means taking audiences once again through every step of Peter's transformation into Spider-Man.
    • 67 Metascore
    • 63 Ann Hornaday
    If the series's legions of fans miss a detail here or a sub-plot there, they'll still recognize its bones and sinew, especially in Jennifer Lawrence's eagle-eyed heroine Katniss Everdeen.
    • 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.
    • 67 Metascore
    • 63 Ann Hornaday
    The Ides of March is cynical when, with political figures and institutions at all-time lows in public opinion, cynicism is the last thing we need; worse, that cynicism isn't spiked with any new or incisive insight.
    • 58 Metascore
    • 63 Ann Hornaday
    Footloose never needed to be dragged into the 21st century, but Brewer has made it look and sound a little bit more like the real world.
    • 59 Metascore
    • 63 Ann Hornaday
    An improbably satisfying action comedy.
    • 76 Metascore
    • 63 Ann Hornaday
    While qualifying as the most gorgeously appointed and finely detailed version of the novel so far, still lacks the element of essential fire to make it come fully, even subversively, to life.
    • 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.
    • 69 Metascore
    • 63 Ann Hornaday
    The conflicts, magic spells, chase sequences and reconciliations feel strangely by-the-book for a studio so well known for throwing the book out entirely.
    • 78 Metascore
    • 63 Ann Hornaday
    Hip, lurid and improbably lovable, The Guard is easily the best guy-love comedy of the summer, with Cheadle and Gleeson's riffs and repartee tumbling back and forth as if they've been trading lies over Guinness forever.
    • 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.
    • 62 Metascore
    • 63 Ann Hornaday
    I liked The Five-Year Engagement, and then I didn't, and then I did.
    • 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.
    • 56 Metascore
    • 63 Ann Hornaday
    If viewers are left feeling just as impotent as many of the characters, that may be precisely what Jolie intended for a film that asks nothing more of its audience than to bear witness.
    • 61 Metascore
    • 63 Ann Hornaday
    A high-low tension runs through Elysium, not only in the narrative itself, but in Blomkamp’s own cinematic language, which can be lofty one moment and gleefully pulpy the next.
    • 81 Metascore
    • 63 Ann Hornaday
    Breathes its own refreshing, occasionally demented, life into that time period, albeit in a pulpy, stylized cinematic language more akin to vampire-hunter cartoonishness than "Lincoln's" more classical reserve.
    • 59 Metascore
    • 63 Ann Hornaday
    Savages is a B-movie striving for an A-plus, a decadently energetic summer escape with bloody action, bold visuals and bodacious attitude to burn.
    • 74 Metascore
    • 63 Ann Hornaday
    This intimate, straightforward, often wrenching portrait of five families dealing with bullying and its aftermath doesn't hold many surprises at a time when such campaigns as "It Gets Better" and special programming on kids' cable networks are bringing the issue to the fore.
    • 64 Metascore
    • 63 Ann Hornaday
    A big, lumbering, rock ’em, sock ’em mash-up of metallic heft and hyperbole, a noisy, overproduced disaster flick that sucks its characters and the audience down a vortex of garish visual effects and risibly cartoonish action. And you know what? It’s not bad!
    • 75 Metascore
    • 63 Ann Hornaday
    Everyone hits their marks with gusto and believability in Catching Fire... But the engine of the entire operation is Jennifer Lawrence.
    • 63 Metascore
    • 63 Ann Hornaday
    The result is a movie that, while no classic, can be credited with giving the audience something a bit more substantive than the usual disposable summer fare.
    • 63 Metascore
    • 63 Ann Hornaday
    For better or worse, though, this adaptation of the mega-hit Broadway musical fits neither description, largely because it lives in that kinda-sorta, okay-not-great, this-worked-that-didn't in-between for which words like "better" and "worse" fall woefully short.
    • 58 Metascore
    • 63 Ann Hornaday
    A surprisingly lush, endearing little film, in which a swelling sense of romanticism thoroughly banishes even the most far-fetched improbabilities.
    • 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.
    • 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.
    • 67 Metascore
    • 63 Ann Hornaday
    For a movie so bent on skewering illusions, Ruby Sparks ultimately can't entirely let go of its own.
    • 86 Metascore
    • 63 Ann Hornaday
    By bringing so much thought, verve and visual poetry to bear on two neurotics acting out -- rather than on the larger cultural story they anticipate and embody -- The Master turns out to be more of a self-defeating whimper than the big, important bang it could have been.
    • 56 Metascore
    • 63 Ann Hornaday
    For all its limitations, Maleficent manages to be improbably entertaining to watch, due solely to its title character. As befits a star of her regal standing and superb self-awareness, Angelina Jolie has managed to bend even the Brothers Grimm to her indomitable will.
    • 55 Metascore
    • 63 Ann Hornaday
    While Tom Tykwer, Andy Wachowski and Lana Wachowski haven't necessarily expanded on Mitchell's book, they've done a superlative job making it legible onscreen. Cloud Atlas deserves praise if only for not being the baggy, pretentious disaster it could have been in other hands.
    • 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.
    • 61 Metascore
    • 63 Ann Hornaday
    Buried inside this grab bag of hits and misses is a pretty good point about the descent of television news into a miasma of 24/7 speculation, fluff and, most of all, hype.
    • 62 Metascore
    • 63 Ann Hornaday
    About Last Night may be about Daniel and Debbie, but it’s Hart and Hall who make it worth watching. They take palatable but not exceptional cinematic hay and turn it into comic gold.
    • 68 Metascore
    • 63 Ann Hornaday
    Features one of the best endings in recent movie memory — and as we all know, endings are the hardest. If it takes some predictable twists and turns to get there, well then, accept it and move on.
    • 75 Metascore
    • 63 Ann Hornaday
    The Wolf of Wall Street remains one-note even at is most outré, an episodic portrait of rapaciousness in which decadence escalates into debauchery escalates into depravity — but, miraculously, not death.
    • 64 Metascore
    • 63 Ann Hornaday
    If this strikes you as vaguely familiar, you’re right: Disconnect is a computer “Crash.”
    • 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.
    • 76 Metascore
    • 63 Ann Hornaday
    As admirable as Moors’s oblique style is, though, Blue Caprice doesn’t offer the sense of catharsis or closure, let alone new information, that makes it more than a cold, if disciplined, directorial exercise.
    • 74 Metascore
    • 63 Ann Hornaday
    Computer Chess makes an affecting preservationist plea, in this case for a visual and material culture that, while not objectively beautiful, possessed its own form of buttoned-down passion — before it became obsolete by taking over the world.
    • 64 Metascore
    • 63 Ann Hornaday
    It’s impossible to dismiss von Trier as merely a hype-monger. He’s too damnably good a filmmaker for that. Watching Nymphomaniac is to be reminded of his superb skills in creating vivid worlds and characters on screen.
    • 59 Metascore
    • 63 Ann Hornaday
    You don’t go to The Best Man Holiday to deconstruct its flaws. You go for its myriad, adamantly un-cerebral pleasures.
    • 84 Metascore
    • 63 Ann Hornaday
    Subtlety may not be the film’s strong suit, but it creates a richly imagined world, as glitteringly arresting as it is savagely merciless.
    • 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.
    • 62 Metascore
    • 63 Ann Hornaday
    The wispy premise of Newlyweeds, written and directed by Shaka King, is kept afloat by its attractive, youthfully vital cast (along with some well-timed comic relief by way of some familiar faces).
    • 62 Metascore
    • 63 Ann Hornaday
    Begin Again may not always swing, but it makes up for that in sincerity and a welcome willingness to ambush expectations.
    • 69 Metascore
    • 63 Ann Hornaday
    Seemingly unable to engage in self-reflection, let alone self-criticism, Rumsfeld is given virtually full rein to control the narrative by Morris, who is far more interested in letting the audience dwell inside his subject’s strangely attenuated moral imagination, rather than challenge it.
    • 75 Metascore
    • 63 Ann Hornaday
    The wine Coogan and Brydon are opening this time may lack some of the novel fizz of the first one, but The Trip to Italy is like most vacations: a few bumps here and there, but over all too quickly.
    • 60 Metascore
    • 63 Ann Hornaday
    Larky, witty and sometimes even wise, this spoof on every rom-com ever made is less a fully realized film than an extended skit, a series of set pieces that poke gentle and sometimes transgressively crude fun at the tropes of girl-meets-boy that have enchanted and addled audiences for generations.
    • 75 Metascore
    • 63 Ann Hornaday
    Omar feels as trapped and enmeshed in hopelessness as the vicious political cycle it depicts.
    • 64 Metascore
    • 63 Ann Hornaday
    What makes The Rover more watchable than the average self-conscious genre exercise is Pearce, who exudes such weary authority and palpable vulnerability that he’s sympathetic even in the film’s most brutalizing moments.
    • 46 Metascore
    • 63 Ann Hornaday
    Even at its most wrenchingly painful, the film readily delivers generous dollops of pleasure.
    • 57 Metascore
    • 63 Ann Hornaday
    Even with the odd misgiving or two, The Grand Seduction will effortlessly charm anyone susceptible to an endearing story told with modesty, wit and unprepossessing sweetness.
    • 66 Metascore
    • 60 Ann Hornaday
    A movie that soars whenever Child is on the screen and sags when Powell shows up.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 60 Ann Hornaday
    Manages to be a diverting and funny character study, at least most of the time.
    • 66 Metascore
    • 60 Ann Hornaday
    On the Outs has its rewards, especially in the mesmerizing performance of Marte.
    • 71 Metascore
    • 60 Ann Hornaday
    Fellowes has brought intelligence and control to the eternally vexing question of whether the right thing is always the good thing.
    • 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.
    • 62 Metascore
    • 60 Ann Hornaday
    If Loggerheads sometimes feels too forced, it features some unforgettable performances, especially by Hunt, an accomplished comedienne who makes an impressive debut as a dramatic lead here.
    • 70 Metascore
    • 60 Ann Hornaday
    Most revelatory here is Malli, who defies the stereotype of submission and subservience and emerges as a woman of self-possession and substance. (The earthily beautiful Bat-Sheva Rand infuses the character with a generous dollop of her own zaftig sensuality.)
    • 60 Metascore
    • 60 Ann Hornaday
    The movie goes off the rails only when the filmmaker inadvertently legitimizes the Protocols' loony philosophical heirs by interviewing a New York medical examiner and a widow about the remains of one of 9/11's Jewish victims.
    • 72 Metascore
    • 60 Ann Hornaday
    Unfortunately, for all its good music and admirable vocal impersonations, Walk the Line slides -- very, very slowly -- downhill.
    • 70 Metascore
    • 60 Ann Hornaday
    The first two-thirds of Joyeux Noel are strangely inert, but the film ends with a moving and surprisingly sophisticated meditation on the definition of moral duty.
    • 68 Metascore
    • 60 Ann Hornaday
    The film's unforgettable stars are the beauty academy's students, women who have survived tribal warfare, Soviet invasion, Muslim tyranny, American bombs, patriarchal families and even Western good intentions with extraordinary grace and fortitude.
    • 56 Metascore
    • 60 Ann Hornaday
    What might have been a fascinating, intimate portrait turns into something much less compelling when Clark tries to impose a sex-and-action-packed narrative on the proceedings.
    • 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.
    • 63 Metascore
    • 60 Ann Hornaday
    There's too much slow-mo and too many music cues, but there's a low-key buzz to Wahlberg's scenes with Greg Kinnear.
    • 57 Metascore
    • 60 Ann Hornaday
    Say this for Confetti: It's a crowd-pleaser. If, that is, the crowd is composed of people who have never seen a movie by Christopher Guest or a TV show starring Ricky Gervais.
    • 62 Metascore
    • 60 Ann Hornaday
    Often funny (just listen to Becky fulminate against Harry Potter), but it's also a scary.
    • 57 Metascore
    • 60 Ann Hornaday
    Volckman and Miance are undoubtedly superb draftsmen; what they need is a writer of comparable skill.
    • 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.
    • 56 Metascore
    • 60 Ann Hornaday
    For all its contrivances, Breaking and Entering has its finger on the pulse of contemporary London life and possesses its share of fleeting delights, chief among them the sublime Robin Wright Penn as Law's live-in girlfriend.
    • 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.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 60 Ann Hornaday
    McDormand is the best thing about Laurel Canyon. She's also the most unfortunate victim of a film that seems unable or unwilling to give even its most intriguing and compulsively watchable character her due.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 60 Ann Hornaday
    Jagged, unrelenting, claustrophobically intimate.
    • 59 Metascore
    • 60 Ann Hornaday
    Consistently absorbing -- thanks in large part to strong performances from the actors -- but not particularly rewarding.
    • 57 Metascore
    • 60 Ann Hornaday
    Some viewers will miss the warmth and boisterous family dynamics of its predecessors.
    • 72 Metascore
    • 60 Ann Hornaday
    Will probably appeal only to the most committed of Leigh fans.
    • 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
    • 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.
    • 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.
    • 77 Metascore
    • 60 Ann Hornaday
    The film is ultimately too self-regarding, too smug to be transcendent itself.
    • 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.
    • 67 Metascore
    • 60 Ann Hornaday
    This is a carefully conceived, thoughtfully orchestrated effort in taste and restraint that ultimately is too restrained and tasteful.
    • 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
    • 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.
    • 63 Metascore
    • 50 Ann Hornaday
    A movie that feels written rather than lived; from "The Catcher in the Rye" to "Rushmore," it's a story we've seen in better versions before.
    • 69 Metascore
    • 50 Ann Hornaday
    Isn't about history or war, or people and their problems, or anything of substance or meaning. It's a movie about other movies. For all its visual bravura and occasional bursts of antic inspiration, it feels trivial, the work of a kid who can't stop grabbing his favorite shiny plaything.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Ann Hornaday
    Well, it's better than "The Phantom Menace."
    • Baltimore Sun
    • 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.
    • 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.
    • 35 Metascore
    • 50 Ann Hornaday
    Jigh class briefly gives way to high camp, which then itself dissipates to an anticlimactic thud.
    • 59 Metascore
    • 50 Ann Hornaday
    Often seems less like a fully realized film than an illustrated story, its paragraphs reduced to neatly contrived set pieces.
    • 56 Metascore
    • 50 Ann Hornaday
    If anything, Fever Pitch will give Bosox fans one more chance to relive, in big-screen glory, those fleeting, flavorsome days.
    • 70 Metascore
    • 50 Ann Hornaday
    A good as the performances are, and as dutiful as Nolan has been in preserving the Kane legacy in Batman Begins, there's something joyless about the enterprise.
    • 63 Metascore
    • 50 Ann Hornaday
    Although it's often difficult to discern amid a schematic plot and overheated, sanctimonious denouement, an undeniable reality underlies Cronicas.
    • 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.
    • 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
    • 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.
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    Fake or not, Unknown White Male doesn't live up to its tantalizing potential.
    • 51 Metascore
    • 50 Ann Hornaday
    Aquamarine is better than nothing for its woefully underserved audience.
    • 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.
    • 58 Metascore
    • 50 Ann Hornaday
    Ratner makes a hash of the story and characters his predecessor brought to such complex, sympathetic life, delivering a pumped-up exercise in mayhem, carnage and blunt-force trauma.
    • 68 Metascore
    • 50 Ann Hornaday
    The net effect is one of frustration and will surely send Cohen compleatists back to their record collections for relief.
    • 68 Metascore
    • 50 Ann Hornaday
    Rather than taking viewers on a twisty, provocative journey through a mazelike meditation on appearance and reality, The Illusionist finally just sits there, looking like a very well-produced pilot for PBS's "Mystery!" series. It's a sophisticated snooze.
    • 43 Metascore
    • 50 Ann Hornaday
    Trust the Man quickly begins to feel hopelessly derivative of other, better movies.
    • 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.
    • 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
    • 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.
    • 35 Metascore
    • 50 Ann Hornaday
    If Simon's desire to feed the better angels of our nature is admirable, it would be nice if he could do it with better movies.
    • 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.
    • 68 Metascore
    • 50 Ann Hornaday
    Things take a nasty turn in the film's bilious third act, suggesting that Guest's deepest gift -- his expansive humanism -- stops at the studio gates.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Ann Hornaday
    If Broken English occasionally falls prey to a bit too much self-conscious lethargy, it's still a welcome chance to see Posey at her flighty, edgy best.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Ann Hornaday
    It's all too zany and madcap and Woody Allen-redux to be remotely credible, but Ira & Abby turns out to be witty and winning, in large part because of its cast.
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    Filmgoers haven't seen a family this neurotically enmeshed since the last Diane Keaton movie.
    • 58 Metascore
    • 50 Ann Hornaday
    The movie doesn't offer much new to anyone familiar with Carter.
    • 49 Metascore
    • 50 Ann Hornaday
    Little more than a sleek, stylish stunt.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 32 Metascore
    • 50 Ann Hornaday
    From its very first scene, Untraceable isn't the sophisticated, brainy thriller it so nearly could have been, but just another movie about a serial murderer.
    • 35 Metascore
    • 50 Ann Hornaday
    It's difficult to know whom to root for.
    • 62 Metascore
    • 50 Ann Hornaday
    For the uninitiated? Man, it's a bummer.
    • 41 Metascore
    • 50 Ann Hornaday
    Owen Wilson phones it in with Drillbit Taylor, a by-the-numbers teen comedy.
    • 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.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a movie guaranteed to please crowds, if only because it insists on their affection so strenuously.
    • 58 Metascore
    • 50 Ann Hornaday
    Thank heaven for Judi Dench, whose M provides Quantum of Solace its sole quantum of peppery brio.
    • 62 Metascore
    • 50 Ann Hornaday
    Baghead provides a diverting showcase for actors you may never have heard of but who deserve a shot at fame and fortune.
    • 72 Metascore
    • 50 Ann Hornaday
    Pirouettes along a beguiling but treacherous line between horror and whimsy.
    • 36 Metascore
    • 50 Ann Hornaday
    It's lame, corny, Ed Woodishly amateurish -- all of which is as lovable as the big lug himself.
    • 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.
    • 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.
    • 43 Metascore
    • 50 Ann Hornaday
    Exerts an unmistakable appeal, thanks to an absorbing story and fine performances from Morris Chestnut and Taraji P. Henson.
    • 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.
    • 56 Metascore
    • 50 Ann Hornaday
    Has bells and whistles, superb technical sophistication and dazzling visual effects, sound, fury and Reese Witherspoon. What it doesn't have is heart. Like so many vehicles that have popped out from the DreamWorks Animation snark tank, Monsters vs. Aliens is too clever by half.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Ann Hornaday
    A choppy and occasionally unsure film, one that doesn't achieve the superb tonal control of "The Ice Storm," but that certainly doesn't represent an unqualified disaster on a par with Lee's first attempt at the western, "Ride With the Devil."
    • 61 Metascore
    • 50 Ann Hornaday
    Exhibits the weaknesses and the strengths of what has become a nearly foolproof formula for keeping viewers engaged.
    • 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.
    • 75 Metascore
    • 50 Ann Hornaday
    A bit hard on the posterior, it is definitely easy on the eyes.
    • Baltimore Sun
    • 73 Metascore
    • 50 Ann Hornaday
    It resides in that cinematic middle ground of not-bad, not-great, just okay.
    • 71 Metascore
    • 50 Ann Hornaday
    There're some low New York laughs in Swingers and some nice clothes if you like bad taste, but on the whole, I'd rather be in Philadelphia. At least they know how to make a sandwich in that town!
    • 61 Metascore
    • 50 Ann Hornaday
    If Quitting isn't worthy of affection exactly, it's worthy of respect.
    • 56 Metascore
    • 50 Ann Hornaday
    A toothless series of vignettes rather than an insider satire on par with, say, "Bowfinger."
    • 46 Metascore
    • 50 Ann Hornaday
    His [Director Mike Figgis's] techniques do make the film at least watchable.
    • 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
    • 71 Metascore
    • 50 Ann Hornaday
    Whether the entire production comes off as classy or cloying depends entirely on the viewer's mood.
    • 38 Metascore
    • 50 Ann Hornaday
    Character-rich, but plot-poor.
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    Read like a long, anguished prayer, but on screen it looks an awful lot like blasphemy.
    • Baltimore Sun
    • 57 Metascore
    • 50 Ann Hornaday
    May not be perfect but must be given credit for all that it does right.
    • 41 Metascore
    • 50 Ann Hornaday
    Lovely to look at and listen to but doesn't reward any closer study.
    • 57 Metascore
    • 50 Ann Hornaday
    Genteel but ultimately unnecessary entertainment.
    • 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
    • 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.
    • 67 Metascore
    • 50 Ann Hornaday
    Some dazzling in-camera special effects, especially the ingenious idea of filming the story's ghost at a slow speed, six frames per second, giving the being a strange, otherworldly way of moving.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a downbeat, indulgent and self-consciously quirky little movie.
    • 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
    • 45 Metascore
    • 50 Ann Hornaday
    Both lead players are appealing and attractive enough to make an otherwise tepid movie at least un-excruciating.
    • 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.
    • 33 Metascore
    • 50 Ann Hornaday
    Only fitfully funny, and it makes up for what it lacks in genuine humor by overdosing viewers with outrageous sexuality and outsize stereotypes.
    • 76 Metascore
    • 50 Ann Hornaday
    Does it make it as a movie? Only in fits and starts.
    • 71 Metascore
    • 50 Ann Hornaday
    Surprisingly formulaic. So many scenes seem lifted from a 1950s melodrama, from Blake and Francis' repentent mother (Leslie Ann Warren) to the film's tearjerker of a final scene.
    • 58 Metascore
    • 50 Ann Hornaday
    Paints an often grave but sometimes hilarious picture of a hugely powerful network.
    • 66 Metascore
    • 50 Ann Hornaday
    Rather than sparkle and dance, it plods.
    • 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.
    • 34 Metascore
    • 50 Ann Hornaday
    It's perfectly palatable family fare for a long weekend.
    • 31 Metascore
    • 50 Ann Hornaday
    One of those cinematic curiosities that almost always fade quickly, but that will usually find a devoted cult audience once it hits that peculiar Elysian Field known as the aftermarket.