For 599 reviews, this critic has graded:
  • 49% higher than the average critic
  • 5% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 3.9 points lower than other critics. (0-100 point scale)

Ernest Hardy's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Darwin's Nightmare
Lowest review score: 0 Strippers
Score distribution:
599 movie reviews
    • 35 Metascore
    • 70 Ernest Hardy
    A small revolution tucked inside clichés and willful artistic ineptitude.
    • 62 Metascore
    • 70 Ernest Hardy
    A very cynical exploitation of the current Hollywood vogue for things queer. Still, the film is a must-see.
    • 52 Metascore
    • 70 Ernest Hardy
    Characters make choices that are incredibly stupid, even wildly offensive, but also recognizably human, and as the night spirals out of control Cannon demonstrates a strong hand in controlling the mayhem. He also sets himself up as a filmmaker to watch.
    • 70 Metascore
    • 70 Ernest Hardy
    The supporting cast is uniformly fine, but the film rests on the delicate shoulders of Bonnaire, who carries it with a soulful, magnetic presence.
    • 65 Metascore
    • 70 Ernest Hardy
    It's fair to assume that most viewers likely to see the film, whose title is the very definition of truth in advertising, already own the knowledge being sold.
    • 46 Metascore
    • 70 Ernest Hardy
    Although the hinges connecting the film's elements -- slapstick, political satire, thriller, gross-out shots -- sometimes squeak loudly, they hold the movie together nicely.
    • 78 Metascore
    • 70 Ernest Hardy
    A deceptively simple film, gingerly peels layer after layer of sharp insights into the dynamics of familial love, using compassion and droll humor as its tools. Its strength is that it manages to tap genuine emotion without succumbing to sentimentality.
    • 43 Metascore
    • 70 Ernest Hardy
    It's not really original stuff, and there are few genuine surprises, but Painter skillfully layers visual details and off-the-cuff dialogue into a smart, condescension-free piece on small towns and the complicated lives they contain. The standout here is the always-wonderful Seymour (Hotel Rwanda, Birth).
    • 59 Metascore
    • 70 Ernest Hardy
    Shot on digital and layered with animated segments, performance footage and clips from Smith family home movies, Family Movie unfolds with a gentle, justified confidence in the power of its subject.
    • 68 Metascore
    • 70 Ernest Hardy
    Beautifully shot, the film is unapologetically a crowd-pleaser whose gentleness of tone flows from its subject.
    • 70 Metascore
    • 70 Ernest Hardy
    Kline, Debbie Reynolds (as his mom) and Tom Selleck are all wonderful. But it's the always amazing Cusack, playing the baffled Emily, who steals the film in a smooth transition from wide-eyed fiancée to possibly wronged woman, a role she essays with a perfect balance of wounded-ness and comedic aplomb.
    • 42 Metascore
    • 60 Ernest Hardy
    A decently acted, often drolly funny, tautly directed thriller that proves to be a Russian doll of motivations, coincidences, and plot-twists; it would have been more satisfying if it weren't so unnecessarily convoluted.
    • 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.
    • 40 Metascore
    • 60 Ernest Hardy
    Cudlitz gives a haunted performance as a weathered, misogynistic, homophobic, blue-collar man roiling with demons, and Griffith can break your heart as a good woman staggering under the weight of life.
    • 41 Metascore
    • 60 Ernest Hardy
    Writer-director Scott Schirmer eschews the ironic approach, thankfully, and instead works to pull genuine tension from his material. He does that quite well, and any unintentional laughs (or eye rolls) are icing.
    • 63 Metascore
    • 60 Ernest Hardy
    Isn't a must-see, but it's definitely worthwhile.
    • tbd Metascore
    • 60 Ernest Hardy
    Uneven acting by the cast and a script that could have used at least one more overhaul to synthesize its elements (the love story is so flimsily mapped out as to be unbelievable) cripple Saulter's ambitions, but the energy of the film pulls you in and holds you through its tragic ending.
    • 71 Metascore
    • 60 Ernest Hardy
    If only this movie were rich enough, strong enough to be worthy of this (Dafoe's) performance.
    • 65 Metascore
    • 60 Ernest Hardy
    Despite its weighty material and some moving scenes (much of the Sudanese cast are survivors of the war), this aggressive crowd-pleaser is slighter than its subject matter deserves.
    • 60 Metascore
    • 60 Ernest Hardy
    What's made powerfully clear is that we've reached a dire point of crisis that, while largely rooted in economics, is about so much more than dollars and cents.
    • tbd Metascore
    • 60 Ernest Hardy
    Though the heavy-handed score is emotionally manipulative, Rokab alternates between hopeful and grim prognoses, mercifully providing a measure of hope and possibility that many films of this ilk do not.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 60 Ernest Hardy
    When Boote gets out of the way, the film is illuminating and infuriating.

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