For 560 reviews, this critic has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 1.7 points lower than other critics. (0-100 point scale)

Ernest Hardy's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Vanishing Pearls: The Oystermen of Pointe a la Hache
Lowest review score: 0 Strippers
Score distribution:
560 movie reviews
    • 49 Metascore
    • 30 Ernest Hardy
    Manipulative, feel-good drivel wrapped around a cloying performance by Kevin Spacey.
    • 37 Metascore
    • 30 Ernest Hardy
    This hypersleek film is surprisingly lax for its first half... The ending is dumb.
    • 31 Metascore
    • 30 Ernest Hardy
    In the end, Some Fish Can Fly doesn't.
    • 36 Metascore
    • 30 Ernest Hardy
    Fails because it takes itself both too seriously and not seriously enough.
    • 46 Metascore
    • 30 Ernest Hardy
    Sitcom humor substitutes for wit, and tedious angst supplies the drama.
    • 46 Metascore
    • 30 Ernest Hardy
    Empty details pile up, awful performance art is doled out, talking heads are intermittently identified, and the late Brandon Teena is evoked to little real purpose.
    • 28 Metascore
    • 30 Ernest Hardy
    The biggest problem is that the character of Sabine is such a lame male fantasy of the enigmatic woman-child.
    • 46 Metascore
    • 30 Ernest Hardy
    Crushingly airless film -- Food chokes on its own depiction of upper-crust decorum.
    • 30 Metascore
    • 30 Ernest Hardy
    The film is ultimately more labored than inspired. A cameo by James Brown is amusing, but it can't keep The Tuxedo from earning the distinction of being Chan's worst Hollywood film to date.
    • 55 Metascore
    • 30 Ernest Hardy
    Singleton has neither the emotional nor intellectual depth to do justice to his thesis. He is too in awe of the stereotypical hood lifestyles and macho posturings that he's trying to critique.
    • 49 Metascore
    • 30 Ernest Hardy
    Lazily directed by Charles Stone III (the man behind Budweiser's "Whassup?!" campaign) from a leaden script by Matthew Cirulnick and novelist Thulani Davis.
    • 36 Metascore
    • 30 Ernest Hardy
    As the characters mix and mingle, pouring out their tales of woe online and fumbling real-life connections, Weintrob leaves no cliché unturned in getting to root causes of behavior.
    • 67 Metascore
    • 30 Ernest Hardy
    Just about the only good thing you can say about Spike Lee's pointless, didactic The 25th Hour is that it's filled with strong performances, albeit of stock characters.
    • 37 Metascore
    • 30 Ernest Hardy
    Hinges almost completely on the taut body and delectable beauty of Jessica Alba, but is otherwise so riddled with limp clichés that it doesn't even qualify as a guilty pleasure.
    • 37 Metascore
    • 30 Ernest Hardy
    Quite unintentionally, director Luis Llosa and screenwriters Hans Bauer, Jim Cash and Jack Epps Jr. have crafted a howler; Anaconda, meant to be a nail-biting thriller, is a laugh-out-loud comedy.
    • 32 Metascore
    • 30 Ernest Hardy
    The obvious, cliché-ridden visual style of this probe into the life, work and legacy of Carlos Castaneda ends up working very much against its subject.
    • 46 Metascore
    • 30 Ernest Hardy
    That crack in Vitale's storytelling foundation would be forgivable if the writing, acting and character epiphanies . . . well, existed. As it is, not even Scotti's formidable lips can blow life into this stillborn flick.
    • 32 Metascore
    • 30 Ernest Hardy
    Intentionally blurs fiction and reality.
    • 63 Metascore
    • 30 Ernest Hardy
    It all collapses under an atrocious performance by Pacino, whose laughably bad accent and scene-chewing delivery serve up thick slabs of that rarest of delicacies: Jewish ham. There may be grounds here for a class-action lawsuit.
    • 41 Metascore
    • 30 Ernest Hardy
    After enduring 30 minutes of awful slapstick, shit jokes, gags revolving around used condoms, cholo caricatures, and women who are all psychos, sluts or Latina fuck-dolls, I walked.
    • tbd Metascore
    • 30 Ernest Hardy
    Quickly reveals itself to be a hyper-stylized flick (lots of odd angles and studied production design in the service of flashbacks and dream sequences), but the glossy sum effect is that of a film student straining for a weightiness he can't pull off.
    • 53 Metascore
    • 30 Ernest Hardy
    The script is painfully underbaked, and director Bille Woodruff (Honey) continues to raise a question: How can someone from a music-video background have absolutely no sense of rhythm, timing or pacing?
    • 52 Metascore
    • 30 Ernest Hardy
    As Bomb snakes its way toward tragedy, it grates rather than entices. The actors come off more as poseurs than as characters, and the film's political and cultural insights are superficial and old hat.
    • 31 Metascore
    • 30 Ernest Hardy
    The drama is unintentionally humorous, the humor incredibly labored and the acting rarely better than one might find in a Chi Chi LaRue XXX production.
    • 31 Metascore
    • 30 Ernest Hardy
    It's a mean-spirited exercise in stilted outrageousness.
    • 30 Metascore
    • 30 Ernest Hardy
    Buried beneath Silent Hill’s hyper-stylized stupidity (the film looks like a collaboration between David Fincher, Trent Reznor and music video director Mark Romanek) is the hollow effort to bottle something of the zeitgeist unease surrounding religious fundamentalism.
    • 38 Metascore
    • 30 Ernest Hardy
    It's a dud. To be fair, the source material (to which the film is unfortunately faithful) is itself a wan assemblage of creaky one-liners, overly familiar gay ghetto types and sitcom-inspired shenanigans.
    • 36 Metascore
    • 30 Ernest Hardy
    Working from a preachy, clumsy script that's full of gaping holes in logic, plot and character development, director Zak Tucker is also handicapped by a cast filled with actors who seem to be in their first year of acting school.
    • tbd Metascore
    • 30 Ernest Hardy
    Like a lot of recent queer-themed cinema that aspires to be politically charged, Maple Palm takes a hot-button issue (here, it's homophobic U.S. immigration policies) and reduces it to dry sloganeering and shameless emotional manipulation of the audience.
    • 43 Metascore
    • 30 Ernest Hardy
    A movie that’s full of sound, fury and unintentional camp -- and is still bafflingly inert.