For 558 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 Best Kept Secret
Lowest review score: 0 Welcome to the Jungle
Score distribution:
558 movie reviews
    • 69 Metascore
    • 20 Ernest Hardy
    In the end, Butterfly is an infuriating film because it's so very contrived, so annoyingly phony.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 30 Ernest Hardy
    An often gorgeous, dizzying assault of ideas and visual flourishes...it's just not very good.
    • 56 Metascore
    • 30 Ernest Hardy
    Derivative, cliché-ridden and old hat.
    • 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.
    • 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
    A tedious exercise in filling in historical blanks through exhausted tropes.
    • 52 Metascore
    • 20 Ernest Hardy
    A lobotomized updating of "A Midsummer Night's Dream."
    • 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.
    • 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.
    • 49 Metascore
    • 30 Ernest Hardy
    Manipulative, feel-good drivel wrapped around a cloying performance by Kevin Spacey.
    • 48 Metascore
    • 20 Ernest Hardy
    The best parts of the movie occur during the outtakes, which are genuinely funny. The movie proper is insufferable.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 30 Ernest Hardy
    Afailed attempt at a hipster screwball comedy. Very failed.
    • 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.
    • 43 Metascore
    • 30 Ernest Hardy
    A movie that’s full of sound, fury and unintentional camp -- and is still bafflingly inert.
    • 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.
    • 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.
    • 40 Metascore
    • 30 Ernest Hardy
    Renton's competing tones and intentions result in a film at odds with itself and its lead performance.
    • 40 Metascore
    • 10 Ernest Hardy
    Painfully bereft of wit or cogent insight.
    • 39 Metascore
    • 0 Ernest Hardy
    Atrocious bit of by-the-numbers screen filler. And anyone who easily lapses into sugar comas is advised to stay far, far away.
    • Film.com
    • 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.