For 1,554 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 1.8 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Nowhere to Hide
Lowest review score: 0 Undiscovered
Score distribution:
1554 movie reviews
    • 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.
    • 75 Metascore
    • 63 Ann Hornaday
    Spy
    As cinema, Spy is content to cater to its own conventions, hit the required marks and earn a few laughs along the way. As a cultural bellwether, it does something bigger and more important, without ever italicizing that fact.
    • 59 Metascore
    • 63 Ann Hornaday
    An improbably satisfying action comedy.
    • 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.
    • 64 Metascore
    • 63 Ann Hornaday
    As a showcase for Murray’s proven rapport with his audience, St. Vincent occasionally threatens to become a self-congratulatory victory lap. But as a celebration, it’s a chance to revel in the Murray personae — wiseacre, hipster, humble man of the street and hell of a nice guy — that has allowed him somehow to reach mass-media stardom while retaining his own idiosyncratic niche.
    • 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.
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 63 Ann Hornaday
    A bland also-ran in a post-"Sopranos" universe.
    • 66 Metascore
    • 63 Ann Hornaday
    As he did in the first “Avengers,” writer-director Joss Whedon avoids the fatal trap of comic-book ­self-seriousness, leavening a baggy, busy, overpopulated story with zippy one-liners, quippy asides and an overarching tone of jaunty good fun.
    • 45 Metascore
    • 63 Ann Hornaday
    No one will ever credit Snatched with discovering new comic territory. But it earns its share of laughs by covering some well-trod ground.
    • 79 Metascore
    • 63 Ann Hornaday
    I’ll Be Me is an elevating experience, inviting the audience to bear witness to Campbell’s courage, humor and spiritual strength. His story may make for a tough movie, but it’s an important and triumphant one, as well.
    • 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.
    • 89 Metascore
    • 63 Ann Hornaday
    Elle would be too clever by half — not to mention fatally offensive — were it not for Huppert, who in her portrayal of Michèle owns the movie from its opening moments to its bizarre, but not entirely surprising, denouement.
    • 55 Metascore
    • 63 Ann Hornaday
    Money Monster, which is at its best when it’s at its most crisply realistic and timely, suffers from the kind of only-in-Hollywood plot twists and eye-rolling exaggeration that results in smarter than average pulp, but pulp nonetheless.
    • 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.
    • 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.
    • 54 Metascore
    • 63 Ann Hornaday
    Although sweet and likable, Ricki and the Flash pulls too many punches to qualify as cathartic or even memorable. Instead, it’s a crowd-pleaser every bit as calculated and earnestly defanged as a Golden Oldies bus-and-truck tour.
    • 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
    Life, Animated makes fascinating points, about the power of cinema, about meeting our loved ones where they are and, as Ron says, about who gets to decide what constitutes a meaningful life.
    • 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.
    • 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.
    • 62 Metascore
    • 63 Ann Hornaday
    Kasdan has assembled a stellar cast of supporting players to lend this low-key tale some interest.
    • 81 Metascore
    • 63 Ann Hornaday
    For all its savagery and hopelessness, Starred Up manages to be sympathetic, not only because of O’Connell’s galvanizing turn, but also Asser and director David Mackenzie’s unwavering commitment to portraying his character with as much compassion as brutal honesty.
    • 57 Metascore
    • 63 Ann Hornaday
    True to its title, as well as its flawed but sympathetic protagonist, Whiskey Tango Foxtrot is more confused than cynical or opportunistic. Its bewilderment is contagious, and ultimately endearing.
    • 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.
    • 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
    This isn't your father's Stuart Little, but youngsters will be delighted. Mostly.
    • 58 Metascore
    • 63 Ann Hornaday
    It’s that rare fish-out-of-water story in which the fish miraculously manages to stop needing water, and learns to crave air instead.
    • 49 Metascore
    • 63 Ann Hornaday
    The oddball grief drama Demolition proves that an actor who could easily be dismissed as just another watchable face is actually possessed of subtle, fascinatingly protean chops.
    • 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
    • 81 Metascore
    • 63 Ann Hornaday
    Not nearly as accomplished narratively as it is visually.
    • 77 Metascore
    • 63 Ann Hornaday
    Mississippi Grind winds up being an improbably satisfying, even heartwarming character study.
    • 61 Metascore
    • 63 Ann Hornaday
    Even at its most contrived, The Hero exerts a soothing attraction not unlike the man at its center.
    • 88 Metascore
    • 63 Ann Hornaday
    The dynamic between Fletcher and Andrew makes for highly pitched drama, which strains for credibility during two climactic scenes.
    • 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.
    • 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
    • 44 Metascore
    • 63 Ann Hornaday
    Provides an arresting journey through the Japanese countryside and culture.
    • 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.
    • 63 Metascore
    • 63 Ann Hornaday
    Admittedly, Niccol succumbs to the temptation to make mini-billboards out of his dialogue, in which arguments follow neat “on the one hand” trajectories. But for the most part, Good Kill asks pertinent, enduring questions, not by way of polemic, but through the study of a character.
    • 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
    • 68 Metascore
    • 63 Ann Hornaday
    The Meddler is a movie of modest charms.
    • 56 Metascore
    • 63 Ann Hornaday
    It’s funny and sad and weary and wise, which feels just about right for now. War Machine is a weird, unsettled movie for a weird, unsettled time.
    • 78 Metascore
    • 63 Ann Hornaday
    The beauty of Indignation can be found in how it builds, growing from a garden-variety coming-of-age story into a poetic, even prayerful, meditation on the pitiless vagaries of character and regret. Thoughtful and reserved, perhaps even to a fault, Indignation winds up packing a wallop far greater than its modest parts might suggest.
    • 75 Metascore
    • 63 Ann Hornaday
    If the film’s pace is sometimes as awkward as its hero, and the story a little thin, it still brims with authentic life and affection for the characters (even the dubiously attentive Katrin).
    • 33 Metascore
    • 63 Ann Hornaday
    Ends up being more about her hair (Meg Ryan's) than anything else.
    • Baltimore Sun
    • 57 Metascore
    • 63 Ann Hornaday
    All Good Things is creepy and weird and sad, and little else.
    • 68 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.
    • 66 Metascore
    • 63 Ann Hornaday
    Roald Dahl’s beloved ad­ven­ture tale about a brave little girl who befriends the titular Big Friendly Giant, finds Steven Spielberg in his natural element of childlike enchantment, yet also strangely out of step, his trusted sense of narrative propulsion and pacing occasionally failing him in a saggy, draggy second act.
    • 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.
    • 73 Metascore
    • 63 Ann Hornaday
    Although Sheridan has approached the setting with the sensitivity and respect of his deeply empathic protagonist, the film still bears a slight but inescapable whiff of cultural tourism.
    • 75 Metascore
    • 63 Ann Hornaday
    As a family-approved document, In Her Own Words is celebratory rather than probing, critical or comprehensive.
    • 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.
    • 51 Metascore
    • 63 Ann Hornaday
    True to the profession it sets out to glamorize, The Accountant takes advantage of its share of creative loopholes — and manages to break even in the process.
    • 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.
    • 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.
    • 76 Metascore
    • 63 Ann Hornaday
    Structurally, The Wonders suffers from awkward bulges and sags, especially toward the end. Still, it’s a beautiful, richly imagined ride that doesn’t end as much as evaporate into a dreamlike puff of smoke.
    • 70 Metascore
    • 63 Ann Hornaday
    The Walk satisfies as an absorbing yarn of authority-flouting ad­ven­ture and as an example of stomach-flipping you-are-there-ness. The journey it offers viewers doesn’t just span 140 feet, but also an ethereal, now-vanished, world.
    • 69 Metascore
    • 63 Ann Hornaday
    It’s a credit to Lehane’s screenplay, director Michael R. Roskam’s restraint and a superb cast led by the masterful Tom Hardy that “The Drop” earns every sad-eyed glance and heart-tugging whimper.
    • 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
    • 76 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.
    • 67 Metascore
    • 63 Ann Hornaday
    The film can be appreciated, if only as a showcase for its assured, emotional attuned performances, as a convincing time capsule and period piece, and as a chance to reconsider one of the more well-known and still-influential studies of its era.
    • 65 Metascore
    • 63 Ann Hornaday
    By no stretch is this a disaster on a par with Lucas’s misbegotten prequel trilogy. Still, at least until its final section, Rogue One lacks the zip, zing and exhilarating sense of return to form that “The Force Awakens” conveyed so lightly.
    • 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.
    • 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.
    • 76 Metascore
    • 63 Ann Hornaday
    Wild is an accomplished movie, and often a beautiful and moving one, but the woman at its center remains warily at arm’s length.
    • 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."
    • 40 Metascore
    • 63 Ann Hornaday
    As earnest as the performances are, something seems to be lost in the translation.
    • 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.
    • 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.
    • 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.
    • 86 Metascore
    • 63 Ann Hornaday
    As charming as Baby Driver strives to be, the appeal starts to curdle once Wright makes his fetishistic aims clear.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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!
    • 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.
    • 56 Metascore
    • 63 Ann Hornaday
    Its mood of ennui and dread will haunt long after its title character's beaming grin has faded.
    • 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
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 60 Ann Hornaday
    Volckman and Miance are undoubtedly superb draftsmen; what they need is a writer of comparable skill.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.)
    • 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.
    • 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.
    • 58 Metascore
    • 60 Ann Hornaday
    Manages to be a diverting and funny character study, at least most of the time.
    • 72 Metascore
    • 60 Ann Hornaday
    Unfortunately, for all its good music and admirable vocal impersonations, Walk the Line slides -- very, very slowly -- downhill.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 60 Ann Hornaday
    This is a carefully conceived, thoughtfully orchestrated effort in taste and restraint that ultimately is too restrained and tasteful.
    • 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.
    • 62 Metascore
    • 60 Ann Hornaday
    Often funny (just listen to Becky fulminate against Harry Potter), but it's also a scary.
    • 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.
    • 66 Metascore
    • 60 Ann Hornaday
    On the Outs has its rewards, especially in the mesmerizing performance of Marte.
    • 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.
    • 72 Metascore
    • 60 Ann Hornaday
    Will probably appeal only to the most committed of Leigh fans.
    • 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.
    • 57 Metascore
    • 60 Ann Hornaday
    Some viewers will miss the warmth and boisterous family dynamics of its predecessors.
    • 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.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 60 Ann Hornaday
    A movie that soars whenever Child is on the screen and sags when Powell shows up.
    • 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.
    • 77 Metascore
    • 60 Ann Hornaday
    The film is ultimately too self-regarding, too smug to be transcendent itself.
    • 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.
    • 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
    • 72 Metascore
    • 50 Ann Hornaday
    Pirouettes along a beguiling but treacherous line between horror and whimsy.
    • 60 Metascore
    • 50 Ann Hornaday
    With its shambling, felicitously contrived structure and Fellini-esque climax, it's some kind of Jungian slacker fable.
    • 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.
    • 46 Metascore
    • 50 Ann Hornaday
    An unobjectionable if uninspired updating of a classic family story for the minivan generation.
    • 79 Metascore
    • 50 Ann Hornaday
    Never lets viewers fully inside Erik and Paul's world, a reticence that isn't helped by the actors' fey, restrained-to-a-fault performances. That and a frustratingly episodic structure make what might have been a raw and inspiring portrait of commitment and boundaries a surprisingly uninvolving, arms-length enterprise. Keep the Lights On lets go just when it should be holding you tighter.
    • 49 Metascore
    • 50 Ann Hornaday
    The visual and performative elements are polished enough in Live by Night, but it lacks any sense of urgency.
    • 58 Metascore
    • 50 Ann Hornaday
    Trouble With the Curve presents viewers with a frustrating change-up: What promised to be a modest, refreshingly unforced little comedy turns out to be low energy to a fault.
    • 34 Metascore
    • 50 Ann Hornaday
    Ferrell and Hart have a genial, easygoing chemistry and Get Hard manages to score more than a few good points about facile assumptions and toxic hypocrisy.
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    Read like a long, anguished prayer, but on screen it looks an awful lot like blasphemy.
    • Baltimore Sun
    • 71 Metascore
    • 50 Ann Hornaday
    Whether the entire production comes off as classy or cloying depends entirely on the viewer's mood.
    • 45 Metascore
    • 50 Ann Hornaday
    Both lead players are appealing and attractive enough to make an otherwise tepid movie at least un-excruciating.
    • 53 Metascore
    • 50 Ann Hornaday
    The Hollars drives inexorably to a conclusion that feels as manipulatively mawkish as it is impossibly tidy, typical of a genre that too often tries to have it both ways. It turns out that happy families are all alike, even when they’re a little bit sad.
    • 64 Metascore
    • 50 Ann Hornaday
    Its arresting visual design aside, Cafe Society is upper-middle-late-period Allen, a modestly diverting ditty that will never go down as one of his greats. (But, as most can agree, Allen at his most middling is still better than many hacks at their best.)
    • 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.
    • 66 Metascore
    • 50 Ann Hornaday
    For all of the virtuosity of Redmayne and Vikander’s performances, and for all its sensitivity and aesthetic appeal, The Danish Girl is content simply to present the ambiguities and contradictions of Lili and Gerda’s story, rather than delve into their gnarlier corners.
    • 60 Metascore
    • 50 Ann Hornaday
    Magic Mike XXL tries mightily — if unsuccessfully — to match its predecessor’s stature as a camp classic, the epitome of trashy summer fun for the whole pansexual, polymorphously perverse, omni-libidinous family.
    • 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.
    • 66 Metascore
    • 50 Ann Hornaday
    Partridge is such a fatuous, superficial figure that the trick is to make him palatable enough to sustain interest for more than an hour. The filmmakers meet with uneven success.
    • 66 Metascore
    • 50 Ann Hornaday
    Ewing and Grady insert vignettes featuring a young actor playing Lear as a 9-year-old, wandering an empty theater and trying on his analog’s signature white hat. The conceit might have sounded artful on paper, but it doesn’t work on film.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Ann Hornaday
    There’s no doubt that Villeneuve can make a movie; he’s developed a strong cinematic voice. It’s tantalizing to imagine what he could do with a really fine story.
    • 48 Metascore
    • 50 Ann Hornaday
    Paris Can Wait is a modest, genteel piece of cinematic escapism, a silky testament to sensuality as impeccably tasteful as it is utterly undemanding.
    • 52 Metascore
    • 50 Ann Hornaday
    This version may not break new ground, but it revisits familiar territory with a vibrant sense of style and welcome restraint. It exemplifies the kind of respectable and utterly unnecessary remake that now defines the Hollywood business model.
    • 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.
    • 62 Metascore
    • 50 Ann Hornaday
    For the uninitiated? Man, it's a bummer.
    • 55 Metascore
    • 50 Ann Hornaday
    A modestly funny, little bit dark, occasionally knowing, not entirely cynical comedy that, to the extent that it succeeds at all, does so thanks to James Marsden.
    • 69 Metascore
    • 50 Ann Hornaday
    The Little Hours seldom rises above a clever but lightweight one-liner.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Ann Hornaday
    With visions of "The Public Enemy," "Bonnie and Clyde" and even "The Assassination of Jesse James by the Coward Robert Ford" dancing in its head, the Prohibition-era drama Lawless winds up being equal to none of them -- even if it holds its own as a modestly respectable genre exercise.
    • 67 Metascore
    • 50 Ann Hornaday
    Well, it's better than "The Phantom Menace."
    • Baltimore Sun
    • 49 Metascore
    • 50 Ann Hornaday
    Little more than a sleek, stylish stunt.
    • 59 Metascore
    • 50 Ann Hornaday
    Go For Sisters is worth the time if only to witness the terrific chemistry between Hamilton and Ross, the latter of whom delivers a break-through performance as a woman of uncommon, almost regal, composure, even as she struggles to stay on the righteous path.
    • 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.
    • 74 Metascore
    • 50 Ann Hornaday
    Try as it might to entertain serious notions of manhood, evil and original sin, Prisoners works most effectively as Hollywood hypocrisy at its most sleek, efficient and meretricious. It’s stylish, high-minded hokum.
    • 57 Metascore
    • 50 Ann Hornaday
    Even Mary Tyler Moore's sunny but vulnerable Mary Richards or Tina Fey's Liz Lemon seem more fleshily real than Becky.
    • 70 Metascore
    • 50 Ann Hornaday
    Siegel's depiction of the film's supporting characters too often borders on caricature. By the movie's strained, overheated climax, it's clear that Siegel, in his directing debut, is less interested in his protagonist as a character capable of transformation than as a human petri dish of futility and pathology.
    • 64 Metascore
    • 50 Ann Hornaday
    Garca brings his finely calibrated sense of drama to the subject of adoption, which he handles with characteristic restraint and insight -- at least until the film's maudlin, too-pat finale. That sharp melodramatic turn is a shame, because so much of what has gone before in Mother and Child is of real quality.
    • 50 Metascore
    • 50 Ann Hornaday
    Tends toward the broadest possible takes on slapstick, sophomoric sexuality and post-"Hangover" raunch.
    • 68 Metascore
    • 50 Ann Hornaday
    With its contrived setups, preposterous coincidences and calculated sentimentalism, Crazy, Stupid, Love seems beamed from the same alternate reality as "Larry Crowne." We might enjoy the ride while we're on it, but it will seem like a visit to another planet once we're home.
    • 75 Metascore
    • 50 Ann Hornaday
    Like a gel cap in a sip of orange juice, the psycho-pharmacological thriller Side Effects goes down easily, even if its long-term impact turns out to be barely dis­cern­ible.
    • 61 Metascore
    • 50 Ann Hornaday
    Exhibits the weaknesses and the strengths of what has become a nearly foolproof formula for keeping viewers engaged.
    • 60 Metascore
    • 50 Ann Hornaday
    Dans Paris will delight aficionados familiar with its myriad references, and there's no denying the appeal of Duris and Garrel. But once the source of the boys' primal wound is revealed, the whole enterprise comes to feel as mechanical as the Bon Marche window display that serves as one of the film's plot points.
    • 51 Metascore
    • 50 Ann Hornaday
    An emotional thriller that is by turns contrived and impassioned.
    • 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!
    • 36 Metascore
    • 50 Ann Hornaday
    The movie has been made with consummate carelessness but with occasional moments of knowing humor.
    • 59 Metascore
    • 50 Ann Hornaday
    Celeste and Jesse Forever engages in Bridget Jones-like comedy of mortification, sending its heroine down a path of self-discovery that ultimately seems more cruel than revelatory.
    • 43 Metascore
    • 50 Ann Hornaday
    American Pastoral may tell the heartbreaking story of Swede Levov, but a firm grasp of who he is and what he means remains maddeningly elusive.
    • 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.
    • 67 Metascore
    • 50 Ann Hornaday
    A movie sure to reward the filmmaker's most die-hard fans, while doing little to quiet critics who found his work self-conscious to the point of insufferability.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Ann Hornaday
    The weakest link here is Heard, who possesses the icy cool of Kim Novak but whose character never quite comes into fuller focus than as a hyper-sexualized object of desire.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 53 Metascore
    • 50 Ann Hornaday
    Somehow, the comic chemistry never seems to ignite in The Big Year.
    • 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.
    • 57 Metascore
    • 50 Ann Hornaday
    Branagh, who proved his action bona fides with “Thor,” does an inarguably competent job of choreographing a modestly intelligent espionage thriller, even if it’s impossible to identify anything new he’s bringing to an already groaning table.
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    A Letter to Momo is unquestionably lovely to look at, but viewers may not be able to shake the feeling that they’ve seen much of it before, and done better.
    • 75 Metascore
    • 50 Ann Hornaday
    A bit hard on the posterior, it is definitely easy on the eyes.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Ann Hornaday
    Aquamarine is better than nothing for its woefully underserved audience.
    • 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.
    • 65 Metascore
    • 50 Ann Hornaday
    Filmgoers haven't seen a family this neurotically enmeshed since the last Diane Keaton movie.
    • 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.
    • 62 Metascore
    • 50 Ann Hornaday
    A frantic, occasionally funny, finally enervating bricolage of special effects, explosive set pieces, sardonic one--liners and notional human emotions, this branch of the Marvel franchise tree feels brittle and over--extended enough to snap off entirely.
    • 67 Metascore
    • 50 Ann Hornaday
    Even with all this talent and earnestness, though, Nowhere Boy still feels indulgent, slight and almost instantly forgettable.
    • 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.
    • 63 Metascore
    • 50 Ann Hornaday
    What’s missing from this production is the darkness — the perversity, even — that informs du Maurier’s work, and that would elevate an attractively illustrated story into aesthetically and psychologically vivid cinema.
    • 56 Metascore
    • 50 Ann Hornaday
    Funny? Scary? Entirely logical? It all depends on your point of view, of course, and "What's the Matter With Kansas?" isn't likely to move viewers one way or another.
    • 58 Metascore
    • 50 Ann Hornaday
    Say this about Stone: When it's good, it's very good. And this twisty, atmospheric drama is at its best when Edward Norton takes center screen as the title character.
    • 39 Metascore
    • 50 Ann Hornaday
    Has its modest charms.
    • 51 Metascore
    • 50 Ann Hornaday
    This is a movie guaranteed to please crowds, if only because it insists on their affection so strenuously.
    • 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
    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.
    • 70 Metascore
    • 50 Ann Hornaday
    Like Charlie Chaplin and Buster Keaton before him, Helms plays a lamb trotting hopefully through the abattoir, blessedly unaware of the blades hanging just above his head.
    • 41 Metascore
    • 50 Ann Hornaday
    Owen Wilson phones it in with Drillbit Taylor, a by-the-numbers teen comedy.
    • 58 Metascore
    • 50 Ann Hornaday
    Paints an often grave but sometimes hilarious picture of a hugely powerful network.
    • 38 Metascore
    • 50 Ann Hornaday
    Character-rich, but plot-poor.
    • 76 Metascore
    • 50 Ann Hornaday
    Despite the literal and figurative pains it takes to persuade viewers of its own importance, The Revenant can’t escape the clutches of crippling self-regard.
    • 75 Metascore
    • 50 Ann Hornaday
    What elevates Heaven Knows What above other run-of-the-mill wallows in aimlessness and self-destructive compulsion is Arielle Holmes.
    • 66 Metascore
    • 50 Ann Hornaday
    The film also begins to feel like a case of a director getting to revel in the very thing he's reviling.
    • 63 Metascore
    • 50 Ann Hornaday
    With his cultivated air of nonchalance, the trivialized, consequence-free violence and reverse-engineering of a plot threaded with convenient twists and unexpected arrivals, Wheatley seems intent upon lowering the stakes at every opportunity.
    • 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.
    • 37 Metascore
    • 50 Ann Hornaday
    A thinly written, hoarily cliched story that serves mostly as connective tissue between the movie's chief draw, its dazzling dance sequences.
    • 34 Metascore
    • 50 Ann Hornaday
    Glossy, flossy and blithely secure in its own cheerfully fake worldview, Baggage Claim bypasses the intellect entirely, happy to satisfy on a silly, screwball, wish-fulfillment level. It could have been so much better, but for racking up undemanding escapist flyer miles, it’ll do.
    • 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.
    • 56 Metascore
    • 50 Ann Hornaday
    The gently perfumed air of impending doom suffuses 3 Hearts, a tasteful, mildly intriguing romantic drama from writer-director Benoît Jacquot.
    • 76 Metascore
    • 50 Ann Hornaday
    Does it make it as a movie? Only in fits and starts.
    • 61 Metascore
    • 50 Ann Hornaday
    At Any Price finally hinges on tragedies, reversals and moral ambiguities of Shakespearean proportions, but they’re delivered ploddingly rather than as the intricate parts of an inevitable whole. At Any Price ultimately suffers from the very phenomenon it laments: Like Henry Whipple’s farm, it feels more mechanistic than organic.
    • 57 Metascore
    • 50 Ann Hornaday
    Genteel but ultimately unnecessary entertainment.
    • 36 Metascore
    • 50 Ann Hornaday
    The Watch takes the same ethos of male bonding, obsession with sex and sardonic violence that has proved so profitable in recent years on yet another summer spin. The tires may be in need of changing pretty soon, but for now the jalopy still runs.
    • 66 Metascore
    • 50 Ann Hornaday
    Rather than sparkle and dance, it plods.
    • 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.
    • 56 Metascore
    • 50 Ann Hornaday
    A toothless series of vignettes rather than an insider satire on par with, say, "Bowfinger."
    • 32 Metascore
    • 50 Ann Hornaday
    A fascinating, vexing, indulgent, visionary, pretentious, mesmerizing pop culture curio.
    • 36 Metascore
    • 50 Ann Hornaday
    It's lame, corny, Ed Woodishly amateurish -- all of which is as lovable as the big lug himself.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Ann Hornaday
    The most enjoyable moments of an otherwise oddly joyless film actually belong to Jake Johnson and Lauren Lapkus, who steal the show in an especially amusing scene during a panicked evacuation.
    • 54 Metascore
    • 50 Ann Hornaday
    The Magnificent Seven is fine as far as it goes, but — especially when the familiar strains of the 1960 theme song begin wafting over the final scenes — one can’t help feeling that it should have gone much further.
    • 70 Metascore
    • 50 Ann Hornaday
    Fails to go into the one realm that would make it worthwhile, which is Ed Wood's brain.
    • Baltimore Sun
    • 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.
    • 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.
    • 66 Metascore
    • 50 Ann Hornaday
    Never quite breaks out of its talky inertia.
    • 64 Metascore
    • 50 Ann Hornaday
    Killing Them Softly possesses a modicum of swagger and style, even as it perpetuates some of the crime genre's more tedious cliches, from slow-motion savagery to facile cynicism.
    • 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
    Jigh class briefly gives way to high camp, which then itself dissipates to an anticlimactic thud.
    • 58 Metascore
    • 50 Ann Hornaday
    The movie doesn't offer much new to anyone familiar with Carter.
    • 65 Metascore
    • 50 Ann Hornaday
    Its pedagogical tone perfectly suits it for viewing in classrooms.
    • 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."
    • 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.
    • 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.
    • 64 Metascore
    • 50 Ann Hornaday
    Jensen positions Men & Chicken as a fablelike ode to humanism and tolerance, but his obsession with brutish sexuality and mean, slapstick humor makes that claim feel unearned and glib.
    • 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.
    • 59 Metascore
    • 50 Ann Hornaday
    The best thing about all of this is Bettany.
    • 47 Metascore
    • 50 Ann Hornaday
    A thoroughly unnecessary but nonetheless satisfying adaptation of the cheeseball 1980s TV series.
    • 51 Metascore
    • 50 Ann Hornaday
    Meyers seems content to make a nice movie about nice people doing their best to be nice to each other despite one or two not-nice things that happen along the way. That’s all very nice, but not particularly the stuff of potent or rousing entertainment.
    • 61 Metascore
    • 50 Ann Hornaday
    If Quitting isn't worthy of affection exactly, it's worthy of respect.
    • 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.
    • 50 Metascore
    • 50 Ann Hornaday
    Crowe clearly seeks to return to classic storytelling values with this sweeping-yet-intimate, serious-yet-swashbuckling, hither-yet-thither picaresque; that he succeeds only part of the time shouldn’t detract from the worthiness of his mission.
    • 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
    • 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.
    • 59 Metascore
    • 50 Ann Hornaday
    Even considering its optimistic, open-ended conclusion, Bridget Jones’s Baby feels like an affectionate, slightly overdue goodbye to characters whose time has inevitably passed.
    • 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.
    • 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
    • 60 Metascore
    • 50 Ann Hornaday
    Even at its most depraved, Joe’s journey, and her confession to Seligman, are still compelling enough to propel Volume II until the story becomes hopelessly over-plotted.
    • 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.
    • 67 Metascore
    • 50 Ann Hornaday
    Rogen and his friends may have set out to celebrate virtue at its uneasiest, but they’re clearly still most at home with earthly delights.
    • 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.
    • 55 Metascore
    • 50 Ann Hornaday
    Modestly amusing teen summer comedy.
    • 68 Metascore
    • 50 Ann Hornaday
    Equity isn’t perfect — far from it — but it’s an intriguing attempt at rebalancing a system that’s been dreadfully out of whack for far too long.
    • 65 Metascore
    • 50 Ann Hornaday
    The skits that comprise Coffee and Cigarettes aren't fully realized short pieces as much as riffs or fragments; their appeal is mostly in their stars.
    • 59 Metascore
    • 50 Ann Hornaday
    Although the plot is painfully familiar — and not particularly edifying, compared with similar narratives that have gone before — the novelty here is Silverman, who doesn’t exactly erase her comic persona so much as bring to the surface an inherent darkness that has always lurked in the shadows.
    • 51 Metascore
    • 50 Ann Hornaday
    Thanks to its funny, attractive, emotionally on-point cast, The Second Best Exotic Marigold Hotel puts the lie to F. Scott Fitzgerald’s pronouncement about life having no second acts. In fact, it goes one step further to question why on Earth anyone would stop at just two.
    • 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.
    • 74 Metascore
    • 50 Ann Hornaday
    Interstellar tries so hard to be so many things that it winds up shrinking into itself, much like one of the collapsed stars Coop hurtles past on his way to new worlds. For a movie about transcending all manner of dimensions, “Interstellar” ultimately falls surprisingly flat.
    • 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
    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
    It plods along dutifully, with the occasional zigzag into contrivance, tidy coincidence and outright preposterousness.
    • 67 Metascore
    • 50 Ann Hornaday
    For all its gossamer, gauze, filigree and refinement, Cinderella drags when it should skip as lightly as its title character when she’s late getting home from the ball.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Ann Hornaday
    A shaggy, baggy collegiate comedy that is less a coherent movie than a loosely assembled series of lewd jokes and punishing slapstick routines.
    • 43 Metascore
    • 50 Ann Hornaday
    Trust the Man quickly begins to feel hopelessly derivative of other, better movies.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Ann Hornaday
    The look, style and smarts of A Walk Among the Tombstones seem like such a refreshingly toned-down departure from the outlandishness of Neeson’s “Taken” franchise that it’s all the more dismaying when the film shifts radically into a sadistic tableau of blood and gore.
    • 86 Metascore
    • 50 Ann Hornaday
    Scrappy and unsubtle where "We Were Here" is elegant and nuanced, How to Survive a Plague isn't nearly as formally beautiful as its predecessor.
    • 59 Metascore
    • 50 Ann Hornaday
    Elvis & Nixon makes for a diverting, often absurdly funny double portrait of two men engulfed by changes they can’t fathom, much less accept.
    • 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.
    • 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.
    • 43 Metascore
    • 50 Ann Hornaday
    Exerts an unmistakable appeal, thanks to an absorbing story and fine performances from Morris Chestnut and Taraji P. Henson.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Ann Hornaday
    Olympus Has Fallen at least possesses the frisson of timeliness amid otherwise hoary action-movie cliches.
    • 63 Metascore
    • 50 Ann Hornaday
    Hello, My Name Is Doris is a weirdly off-plumb little movie, one that manages to be condescending and compassionate, knowing and blinkered, reassuring and unsettling all at the same time
    • 65 Metascore
    • 50 Ann Hornaday
    Despite its austere beauty, elegant triptych-like structure and faultlessly disciplined performances, Camille Claudel 1915 still raises more questions than it answers.
    • 59 Metascore
    • 50 Ann Hornaday
    Learning to Drive would be an entirely inert expedition were it not for Clarkson, who plays against Kingsley’s sentinel of propriety with her signature radiance and birdlike gracefulness.
    • 51 Metascore
    • 50 Ann Hornaday
    A slight, modestly funny comedy.
    • 34 Metascore
    • 50 Ann Hornaday
    It's perfectly palatable family fare for a long weekend.
    • 40 Metascore
    • 50 Ann Hornaday
    Intriguing, if uneven, thriller.
    • 68 Metascore
    • 50 Ann Hornaday
    As touching as Hayek’s performance is, Beatriz at Dinner too often forsakes nuance for caricature.
    • 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.
    • 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.

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