For 564 reviews, this critic has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 1.8 points lower than other critics. (0-100 point scale)

Ernest Hardy's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Like Father, Like Son
Lowest review score: 0 The Wash
Score distribution:
564 movie reviews
    • 62 Metascore
    • 70 Ernest Hardy
    Smith has crammed the film with enough genuinely funny moments and insightful bits to make it well worth seeing.
    • 71 Metascore
    • 70 Ernest Hardy
    Although Mansfield Park is an enjoyable film, you can't help but wish that it were as brave, feisty and unconventional as it keeps telling us its heroine is.
    • 60 Metascore
    • 70 Ernest Hardy
    In a sterling ensemble cast, (Elfman) just about walks off with the movie.
    • 72 Metascore
    • 70 Ernest Hardy
    Egoyan and Hoskins fans will definitely want to see this film. Others will feel their fingernails grow as they watch it.
    • 62 Metascore
    • 70 Ernest Hardy
    The film gets an "A" for effort, but doesn't have the courage to really get as bloody, messy and dirty as its subject matter inherently is.
    • 65 Metascore
    • 70 Ernest Hardy
    It's a guy's film that doesn't just revel in testosterone, though -- it has a more purposeful agenda.
    • 61 Metascore
    • 70 Ernest Hardy
    Slow and depressing, but ultimately haunting film.
    • 70 Metascore
    • 70 Ernest Hardy
    Questions loom heavily over this entertaining but not-too-deep film, making it more a commercial than real exploration.
    • 34 Metascore
    • 70 Ernest Hardy
    Has a warm and intimate feel that helps push it a little deeper than its cable movie-of-the-week blueprint.
    • 65 Metascore
    • 70 Ernest Hardy
    Even though it delivers on frights and special effects, and is well-acted and gorgeous to look at, never really surprises us.
    • 59 Metascore
    • 70 Ernest Hardy
    The jokes fly so furiously that it'd be impossible for a single weak performance (Graham) to unravel this very funny film.
    • Film.com
    • 59 Metascore
    • 70 Ernest Hardy
    Has its own sense of logic and integrity that demand a kind of begrudged respect.
    • 52 Metascore
    • 70 Ernest Hardy
    Beautifully shot, full of lush, vibrant colors and expertly wrought sets...a club-kid's frothy date flick.
    • 62 Metascore
    • 70 Ernest Hardy
    Blanchett projects a wounded dignity that anchors her character even when the film slips into silly hokum; she's never less than fantastic, and as such manages to keep the film on course.
    • 72 Metascore
    • 60 Ernest Hardy
    Ustaoglu has made Mehmet unbelievably naive -- and the hardships piled upon him unintentionally evoke "The Perils of Pauline." That dilutes what should be a powerful protest film, and robs it of the emotional impact it aims for.
    • 66 Metascore
    • 60 Ernest Hardy
    Corsini's insight into the psyche of this contemporary woman doesn't have much of a point because it tells us nothing new.
    • tbd Metascore
    • 60 Ernest Hardy
    A little too familiar to be wholly satisfying. What makes it worthwhile is Julia Jay Pierrepont III's direction.
    • 61 Metascore
    • 60 Ernest Hardy
    Had Xiaoshuai trusted audience sympathies to stay with a slightly more forceful character, he'd likely have crafted the heart tugger that the film aims to be.
    • 71 Metascore
    • 60 Ernest Hardy
    Writer-director Kirk Jones has the movie roll over, fetch and chase its own tail in order to make you love it.
    • 46 Metascore
    • 60 Ernest Hardy
    Hardwick doesn't have the chops yet to give the movie the caffeinated zip that it needs to really fly. There are too many dull, flat stretches…(however) the soundtrack kicks ass.
    • 65 Metascore
    • 60 Ernest Hardy
    Writer-director Todd Haynes (Safe, Poison) still makes movies like a first-time filmmaker afraid he won't get another chance; he crams every idea, every image ever dreamed, onscreen.
    • 48 Metascore
    • 60 Ernest Hardy
    A tad dry but never boring.
    • 57 Metascore
    • 60 Ernest Hardy
    The corniness and predictability feel, if not quite fresh, then not so groaningly stale.
    • tbd Metascore
    • 60 Ernest Hardy
    A determinedly old-fashioned boxing/coming-of-age film, only perfunctorily hitting its marks.
    • 42 Metascore
    • 60 Ernest Hardy
    While the acting is fine and the direction accomplished, the real stars of the film are editor Baxter and cinematographer Maxime Alexandre. Forfeiting a gold star is whoever haphazardly dubbed the film, simply giving up about halfway through.
    • 57 Metascore
    • 60 Ernest Hardy
    The film is never really more than a series of loosely connected riffs and set pieces. That'd be fine except much of it is slack and airless; the laughs are many but they're too spread out -- a far cry from the series' heyday of taut, rapid-fire lunacy. Still, it's worth catching the film just for Sedaris' performance.
    • 57 Metascore
    • 60 Ernest Hardy
    It's fine acting of - and chemistry - between Paxton, Margulies and Mark Wahlberg that gives this film (written by Jim McGlynn, directed by Jack Green) its kick.
    • L.A. Weekly
    • 65 Metascore
    • 60 Ernest Hardy
    Director Darnell Martin (I Like it Like That) races through the script's bullet points with a brisk superficiality that leaves crucial plot points underdeveloped and unresolved, and refuses to engage the dark side of Leonard Chess’ paternalism.
    • 52 Metascore
    • 60 Ernest Hardy
    A calculated bid to turn the Rock into a more family-friendly commodity. That calculation may be transparent, but it pays off: Cracking one-liners and alternating between world-weariness and growing affection for his charges, Johnson is wonderful -- much better than his material.
    • 66 Metascore
    • 60 Ernest Hardy
    Fly Away could have been stronger if its antiseptic visual style, which anchors it in old-fashioned TV movie mode, had been more adventurous in shouldering some of the weight of depicting the emotional and psychic anguish of the story.

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