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 4.5 points lower than other critics. (0-100 point scale)

Ernest Hardy's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Generation Iron
Lowest review score: 0 The Wash
Score distribution:
599 movie reviews
    • 68 Metascore
    • 30 Ernest Hardy
    Too self-consciously dark, too aware of its long, murky, art-designed descent into the underbelly of America's addictive personality.
    • 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.
    • 39 Metascore
    • 30 Ernest Hardy
    David John Swajeski, who directed, produced, and edited this documentary on the fledgling fashionista, snags his film on clichés, poor pacing, and an unwillingness or inability to push his subject beyond talk-show pop-psych babble when the topic is interior life and wounds.
    • 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.
    • 58 Metascore
    • 30 Ernest Hardy
    What really makes the film fall dead (although the preview audience I saw it with howled from beginning to end) are the actors and the way the characters have been scripted.
    • 20 Metascore
    • 30 Ernest Hardy
    The film, directed by Jesse Baget, aims to be a satiric look at racism but at every turn flaunts the laws of logic and believability.
    • 46 Metascore
    • 30 Ernest Hardy
    Crushingly airless film -- Food chokes on its own depiction of upper-crust decorum.
    • 46 Metascore
    • 30 Ernest Hardy
    Sitcom humor substitutes for wit, and tedious angst supplies the drama.
    • 28 Metascore
    • 30 Ernest Hardy
    What follows is one set piece after another in which the women make fools of themselves as the script herds them toward a happy ending of hugs and tears.
    • 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.
    • 44 Metascore
    • 30 Ernest Hardy
    Afailed attempt at a hipster screwball comedy. Very failed.
    • 31 Metascore
    • 30 Ernest Hardy
    In the end, Some Fish Can Fly doesn't.
    • 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.
    • tbd Metascore
    • 30 Ernest Hardy
    The film ultimately plays less as female empowerment than it does a narrative in which the comeuppance doled out is likely to be received as a digestif for those in the audience who got off on the gendered violence in the first place.
    • tbd Metascore
    • 30 Ernest Hardy
    Too bad that Josh's story, ostensibly the core of the film, is overshadowed by Calloused Hands' retro racial views.
    • 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.
    • 6 Metascore
    • 30 Ernest Hardy
    The script is often ludicrous (gratuitous digs at feminism; muddled commentary on war and the military), the sets look like sets, and the acting-aside from Helsham and Plunkett-doesn't even rise to the level of student films.
    • 40 Metascore
    • 30 Ernest Hardy
    Renton's competing tones and intentions result in a film at odds with itself and its lead performance.
    • 25 Metascore
    • 30 Ernest Hardy
    The film isn't very good. The Million Dollar Hotel is an uneasy melding of Hollywood shtick and art-house sensibilities.
    • 37 Metascore
    • 30 Ernest Hardy
    Patterson seems more concerned with getting the surfaces right (costume design, production design) than tapping any of the adrenaline that should be pumping through bank robberies, love scenes, and confrontations with barking loan sharks — adrenaline we should feel even if the protagonist is meant to be cucumber-cool.
    • 49 Metascore
    • 30 Ernest Hardy
    Manipulative, feel-good drivel wrapped around a cloying performance by Kevin Spacey.
    • tbd Metascore
    • 30 Ernest Hardy
    Its soap-opera plot is old hat, and the largely amateurish acting of the ensemble makes it hard to connect with many of the characters.
    • 57 Metascore
    • 30 Ernest Hardy
    Hopefully, the next time around, Chadha's imagination will be in the service of not just excellent casting and directing, but a script to match those other cinematic components.
    • 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.
    • tbd Metascore
    • 30 Ernest Hardy
    There's a lot of potential in the idea of exploring asexuality in the modern world, but The Olivia Experiment loses it in a sea of clichéd characters.
    • 56 Metascore
    • 30 Ernest Hardy
    Derivative, cliché-ridden and old hat.
    • 38 Metascore
    • 30 Ernest Hardy
    The humor is, at best, thudding. At its worst, it's breathtakingly stupid and offensive.
    • 23 Metascore
    • 30 Ernest Hardy
    Ross's on-the-nose script offers little subtext or nuance, and the film—for all the inherent drama of the situation—has very little real-life grit.
    • 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.
    • 57 Metascore
    • 30 Ernest Hardy
    An often gorgeous, dizzying assault of ideas and visual flourishes...it's just not very good.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Ernest Hardy
    This hypersleek film is surprisingly lax for its first half... The ending is dumb.
    • 52 Metascore
    • 30 Ernest Hardy
    A tedious exercise in filling in historical blanks through exhausted tropes.
    • 27 Metascore
    • 30 Ernest Hardy
    The thread holding it all together is endless, repetitive, interminable fight scenes whose limp choreography is spiced up with Matrix-style slow motion -- in 2015. For all that -- fists flying, bullets dodged, gratuitous female nudity -- the film is oddly inert.
    • 28 Metascore
    • 30 Ernest Hardy
    Less forgivable is the fact that this is a film in which characters are flung out of character solely for cheap laughs and rarely actually listen or talk to one another.
    • 32 Metascore
    • 30 Ernest Hardy
    Intentionally blurs fiction and reality.
    • 25 Metascore
    • 30 Ernest Hardy
    Playing like the redundant child of The Wolf of Wall Street and Boiler Room, Americons has its heart and justifiably outraged politics in the right place; it just lacks artistry or real insight.
    • 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.
    • 36 Metascore
    • 30 Ernest Hardy
    Walter's self-conscious efforts at quirkiness...and cartoonishly drawn characters...try too hard while falling far short of their marks.
    • 31 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.
    • 43 Metascore
    • 30 Ernest Hardy
    A movie that’s full of sound, fury and unintentional camp -- and is still bafflingly inert.
    • tbd Metascore
    • 30 Ernest Hardy
    Politically simplistic (if not naive) and aesthetically sterile.
    • 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?
    • 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.
    • 36 Metascore
    • 30 Ernest Hardy
    Fails because it takes itself both too seriously and not seriously enough.
    • 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.
    • 32 Metascore
    • 30 Ernest Hardy
    The story is unnecessarily muddled and confusing in the telling, and the athletically gifted Yen is overshadowed by largely mediocre CGI effects. Revisit the original instead.
    • 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.
    • 31 Metascore
    • 30 Ernest Hardy
    It's a mean-spirited exercise in stilted outrageousness.
    • 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.
    • 30 Metascore
    • 30 Ernest Hardy
    Superficiality and cliché mark the film's notions of family, dysfunction, and even survival.
    • tbd Metascore
    • 30 Ernest Hardy
    Written and directed by Tommy Oliver, 1982 is a ham-fisted morality tale about love, marriage and the fallout of the ‘80s crack epidemic as though told by someone whose intel on all three came primarily from pulp sources.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 34 Metascore
    • 30 Ernest Hardy
    In trying to avoid moralizing or cheap sensationalizing, Didier sidestepped any energy force altogether and his film snoozes because of it.
    • 59 Metascore
    • 30 Ernest Hardy
    Appalling because it never transcends its adolescent-boy glee at being allowed entry to the highly sexualized arena of prostitution.
    • 35 Metascore
    • 20 Ernest Hardy
    Director Raja Gosnell apparently doesn't even try to pump life into this wan film version of the beloved Saturday-morning cartoon.
    • 34 Metascore
    • 20 Ernest Hardy
    From concept to execution to tone, writer-director Liz W. Garcia's The Lifeguard is a lifeless misfire.
    • 14 Metascore
    • 20 Ernest Hardy
    The film isn't as smart as it thinks it is, and its characters are painfully generic.
    • tbd Metascore
    • 20 Ernest Hardy
    For a film that deals with adultery, racism, immigration and class struggle, Loco Love is a startlingly weightless work. It has the antiseptic look and feel of an Olsen Twins video.
    • 19 Metascore
    • 20 Ernest Hardy
    Conceptually, Underclassman is the stillborn spawn of "Beverly Hills Cop" and "21 Jump Street." Except its star, Nick Cannon, possesses neither the biting cool of young Eddie Murphy nor the sullen mystery of Johnny Depp. And the script, by David T. Wagner and Brent Goldberg, is breathtakingly bad.
    • 35 Metascore
    • 20 Ernest Hardy
    Loud, chaotic and largely unfunny (veteran actors John Witherspoon and Anna Maria Horsford seem at best indifferent to the material), Friday After Next is the graceless sodomizing of a cult classic.
    • 29 Metascore
    • 20 Ernest Hardy
    If you're already a huge fan of any of these artists, this film will be a lovefest. For all others, it's a mild diversion at best.
    • 31 Metascore
    • 20 Ernest Hardy
    A crap film that's steeped in liberal paranoia, but it's also so ludicrous that it falls under the guilty-pleasure category.
    • 35 Metascore
    • 20 Ernest Hardy
    When will Hollywood learn that a genre trend can last for years if itís nurtured with decent scripts? No time soon, apparently.
    • 27 Metascore
    • 20 Ernest Hardy
    Trite dialogue, stock characters, and bad-to-middling special effects make Stranded more tedious than scary or nerve-wracking.
    • tbd Metascore
    • 20 Ernest Hardy
    The World Famous Kid Detective is a poorly written, acted, and directed kid flick with one cool idea: It's chock full of snippets from old detective noir flicks.
    • 33 Metascore
    • 20 Ernest Hardy
    What's meant to be a colorblind story, plays up age-old stereotypes.
    • 48 Metascore
    • 20 Ernest Hardy
    The best parts of the movie occur during the outtakes, which are genuinely funny. The movie proper is insufferable.
    • 34 Metascore
    • 20 Ernest Hardy
    15 Minutes is simply a bad movie.
    • 36 Metascore
    • 20 Ernest Hardy
    There's really only one reason to see Party Monster, and that's Seth Green's scene-stealing performance as former (and somewhat reluctant) New York club kid James St. James, the boy who would be queen.
    • 25 Metascore
    • 20 Ernest Hardy
    No one ever turns into a real character, and none of the scenes have either dramatic or comedic resonance.
    • 32 Metascore
    • 20 Ernest Hardy
    Pandering and tired, Down to Earth lurches from one dead gag to the other, in search of both comedic rhythm and a dramatic pulse. It finds neither.
    • 33 Metascore
    • 20 Ernest Hardy
    Still, the vibrantly shot Lucky Star could have been a mildly entertaining bit of escapism, were it not for the fact that Sophie isn't naïve so much as infantile, a point driven home by her wardrobe.
    • 19 Metascore
    • 20 Ernest Hardy
    In keeping with the film’s giddy superficiality, what’s revealed is a series of sexy poses passed off as character depth. All the backstabbing, shifting alliances and dark motives are held together by adolescent, innuendo-laden dialogue and thick Sapphic overtones.
    • 21 Metascore
    • 20 Ernest Hardy
    The execution is actually worse than the premise. Nonstop racial, sexual and cultural stereotypes parade across the screen with little wit or real humor to guide them.
    • 28 Metascore
    • 20 Ernest Hardy
    It's little more than a loose assemblage of Hollywood action movie formulas: "Dirty Harry" and assorted cop/buddy flicks are the clear models for the movie.
    • 14 Metascore
    • 20 Ernest Hardy
    So what do the tea leaves say? They're hard to read through the over-the-top grossness and weak acting, but it's probably that gentrification is good, poor people and assorted lowlifes don't deserve prime real estate, and Sean Penn's baby girl needs a better agent.
    • tbd Metascore
    • 20 Ernest Hardy
    The acting is community-theater-level, and the sets look phony, but there's unintentional humor in counting the clichés as they mount.
    • 17 Metascore
    • 20 Ernest Hardy
    Far from the worst film this summer, but it also doesn't rate strong enough to be a future video rental.
    • 69 Metascore
    • 20 Ernest Hardy
    In the end, Butterfly is an infuriating film because it's so very contrived, so annoyingly phony.
    • 31 Metascore
    • 20 Ernest Hardy
    Preposterous and tedious, Sonny is spiked with unintentional laughter that, unfortunately, occurs too infrequently to make the film even a guilty pleasure.
    • 44 Metascore
    • 20 Ernest Hardy
    Especially disappointing that Lemmons, who in "Eve's Bayou" gave us insightful glimpses into the emotional world of black adults, has lost her balance, elevating formula over revelation.
    • 32 Metascore
    • 20 Ernest Hardy
    This is a film at odds with itself, wanting to be a 99 percenter rallying cry but wallowing in and fetishizing 1 percenter accoutrement at every turn.
    • 43 Metascore
    • 20 Ernest Hardy
    Reiss guides the film with a firm hand, ratcheting up the tension and ably guiding his actors. It's his protagonists that undo the film, making it a chore to sit through.
    • 32 Metascore
    • 20 Ernest Hardy
    Not a very good movie; it's sentimental, pandering and psychologically anorexic.
    • 52 Metascore
    • 20 Ernest Hardy
    A lobotomized updating of "A Midsummer Night's Dream."
    • 16 Metascore
    • 10 Ernest Hardy
    The film, whose clumsy editing and dearth of establishing shots keep the viewer in an unintended state of confusion, is a corpse in its own right: It’s filled with the rotting ideas of far better movies.
    • 25 Metascore
    • 10 Ernest Hardy
    The fact that real-life deadly racial animus in America is often cartoonish in its manifestation doesn't excuse Deadline's cliché-ridden characterizations of bigotry. Worse, the film has no pulse and no dramatic tension, despite its subject matter. It's a slog to get to its big revelations.
    • 16 Metascore
    • 10 Ernest Hardy
    The film's deadly lulls outweigh its infrequent highs.
    • 16 Metascore
    • 10 Ernest Hardy
    Almost unbearable.
    • tbd Metascore
    • 10 Ernest Hardy
    It is impossible to overstate how grating Nia Vardalos is as the title character in Helicopter Mom. Throughout her career, her default setting has been something like "Jack Russell terrier after an amphetamine bender." No surprise that she's exhausting here.
    • 22 Metascore
    • 10 Ernest Hardy
    It’s like watching an annoying young drag queen who flubs the quips she’s stolen, refuses to shut up and thinks attitude is wit.
    • tbd Metascore
    • 10 Ernest Hardy
    Death of a Tree, written and directed by John Martoccia, is filled with so much unintentional humor that it quickly slips into the realm of parody — and stays there.
    • 40 Metascore
    • 10 Ernest Hardy
    Painfully bereft of wit or cogent insight.
    • 18 Metascore
    • 10 Ernest Hardy
    Flawed at its very core.

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