For 130 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 1.4 points lower than other critics. (0-100 point scale)

Ernest Hardy's Scores

  • Movies
Average review score: 58
Highest review score: 100 Election
Lowest review score: 0 Runaway Bride
Score distribution:
  1. Positive: 60 out of 130
  2. Negative: 24 out of 130
130 movie reviews
    • 76 Metascore
    • 100 Ernest Hardy
    One of the best films of the year. Queer in every sense of the word, it's poignant, laugh-out-loud funny and thoroughly provocative.
    • 81 Metascore
    • 100 Ernest Hardy
    Tragic, funny and deadpan dark, it's easily one of the best films of the year...It's the brutally unsentimental, intelligent, unflinching heart at the film's core that makes it a marvel.
    • 75 Metascore
    • 100 Ernest Hardy
    Writer/director David Mamet, who's built a career in both theater and film by being a hyper-manly sort of writer, has crafted a film that is laugh out loud funny and dinner-conversation smart.
    • 83 Metascore
    • 100 Ernest Hardy
    One of the funniest, shrewdest, smartest movies in recent memory.
    • 91 Metascore
    • 100 Ernest Hardy
    For anyone who wants to see wildly inventive, peerless filmmaking that's oblivious to market-place formulas, Beau Travail is an absolute must-see.
    • 72 Metascore
    • 90 Ernest Hardy
    A gorgeous dreamscape of a movie...one of the most exhilarating experiences of pure cinema that will be offered this year.
    • 62 Metascore
    • 90 Ernest Hardy
    Entertaining as it often is, Outside Providence feels as if it were a collection of installments from an unusually raunchy television series.
    • 79 Metascore
    • 90 Ernest Hardy
    An unassuming little film that packs a huge emotional and artistic punch.
    • 69 Metascore
    • 90 Ernest Hardy
    There's a shrewd satiric method to LaBute's madness, and a payoff in comedic gold.
    • 86 Metascore
    • 90 Ernest Hardy
    One of the things that makes Traffic so very good is the wry humor that's laced throughout the film. It's a funny movie.
    • 84 Metascore
    • 90 Ernest Hardy
    Though a little long, the film takes us right inside both the creative impulse and the margins of American life. Its triumph is to show those two things as being deeply, wonderfully connected.
    • 68 Metascore
    • 90 Ernest Hardy
    Sure to become a classic; it taps into the fury of being a drone with a deeply knowing precision.
    • 76 Metascore
    • 90 Ernest Hardy
    An especially compassionate look at human frailty that also never loses sight of the inherent ridiculousness of "the human condition." Jesus' Son is one of this summer's best movies.
    • 77 Metascore
    • 90 Ernest Hardy
    MTV, comic books and gangster flicks are all in Lola's cinematic family tree; it's a heady, breathless ride.
    • 90 Metascore
    • 90 Ernest Hardy
    Leigh and his solid cast make sure that inside jokes translate to a broad audience, and that their rendering of the back-stage drama is smart, engrossing and often very funny.
    • 49 Metascore
    • 90 Ernest Hardy
    One of the best films of this year...unlike anything you've seen on the big screen.
    • 77 Metascore
    • 90 Ernest Hardy
    What leaves you breathless, though, is the knockout acting by the cast.
    • 73 Metascore
    • 90 Ernest Hardy
    Show Me Love has the pulse of teen life down-pat, shaming its many sleek and glossy American counterparts at every turn.
    • 76 Metascore
    • 90 Ernest Hardy
    A dark film that raises more questions than it answers -- and it's meant to.
    • 69 Metascore
    • 80 Ernest Hardy
    It's a testimony to Tammy Faye's own integrity and enormous charisma that the film holds our attention as tightly as it does, and doesn't become an insufferable exercise in weak filmmaking.
    • 79 Metascore
    • 80 Ernest Hardy
    A heartfelt documentary.
    • 65 Metascore
    • 80 Ernest Hardy
    By turns amusing, touching and horrifying, A Room For Romeo Brass is a film that defies expectation at every turn.
    • 75 Metascore
    • 80 Ernest Hardy
    What director Aviva Kempner has done is shine a light into the past and recover a classic American hero, one with all the integrity, decency and largeness of spirit that we have been taught makes up the American character.
    • 74 Metascore
    • 80 Ernest Hardy
    Stars the cult celebrity Om Puri, widely considered by cinephiles to be one of the best actors in the world.
    • 73 Metascore
    • 80 Ernest Hardy
    The film is very theatrical and admittedly "staged," but always purposefully.
    • 80 Metascore
    • 80 Ernest Hardy
    It's a sweet and wise film - neither groundbreaking nor revolutionary save for the fact that it places narrative and character arc at the center of its concerns.
    • 78 Metascore
    • 80 Ernest Hardy
    Morris seduces us into stepping into Leuchter's world of delusion and ego.
    • 75 Metascore
    • 80 Ernest Hardy
    At the center of the film is one of the year's best performances -- that of British actress Janet McTeer .
    • 71 Metascore
    • 80 Ernest Hardy
    A highly recommended treat.
    • 82 Metascore
    • 80 Ernest Hardy
    Stays with you, though, not because of its political content, but because of the unexpected emotional punch that's thrown near the end.
    • 64 Metascore
    • 80 Ernest Hardy
    Has moments that are haunting, and it stays with you long after the lights have come back up.
    • 62 Metascore
    • 80 Ernest Hardy
    A sleeper that's well worth hunting down. Its rewards sneak up on you, but then linger long afterwards.
    • 76 Metascore
    • 80 Ernest Hardy
    It's a very funny film, one of the most enjoyable of the summer.
    • 86 Metascore
    • 80 Ernest Hardy
    To watch Sevigny's Lana slowly thaw to Brandon is to see the transformative, heartbreaking power of romance in a way that Hollywood is rarely able to capture anymore.
    • 65 Metascore
    • 80 Ernest Hardy
    It's provocative and very moving, filled with some of the strongest performances of the year.
    • 70 Metascore
    • 80 Ernest Hardy
    Held together by strong writing, insightful direction, and a stunning turn by newcomer Rodriguez, who is not only a gorgeous young woman but a fiercely charismatic screen presence.
    • 66 Metascore
    • 80 Ernest Hardy
    [Ritchie] cranks up the laughs and tension with equal aplomb, throwing wrenches in the plot so that the audience has no idea what to expect next -- and that's part of the film's thrill.
    • 48 Metascore
    • 80 Ernest Hardy
    It's very funny and - at times - even witty in a crude, drunken frat-boy-with-an-epiphany kind of way.
    • 56 Metascore
    • 80 Ernest Hardy
    It's a pleasant surprise to note how good Scream 3 really is.
    • 73 Metascore
    • 80 Ernest Hardy
    Parker and Stone have created a movie that will doubtlessly infuriate and offend -- and amuse to no end.
    • 61 Metascore
    • 70 Ernest Hardy
    Xiaoshuai isn't really interested in glamorizing or even exploring the gangster lifestyle; nor is he interested in conventional dramatic arcs.
    • 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.
    • 70 Metascore
    • 70 Ernest Hardy
    Questions loom heavily over this entertaining but not-too-deep film, making it more a commercial than real exploration.
    • 52 Metascore
    • 70 Ernest Hardy
    Beautifully shot, full of lush, vibrant colors and expertly wrought sets...a club-kid's frothy date flick.
    • 60 Metascore
    • 70 Ernest Hardy
    In a sterling ensemble cast, (Elfman) just about walks off with the movie.
    • 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.
    • 59 Metascore
    • 70 Ernest Hardy
    Has its own sense of logic and integrity that demand a kind of begrudged respect.
    • 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.
    • 64 Metascore
    • 70 Ernest Hardy
    At its core is a feminine realm (the beauty parlor) through which modern issues of alienation and casual-sex-as-a-drug are coupled with timeless questions about the natures of love and desire.
    • 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
    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.
    • 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.
    • 81 Metascore
    • 70 Ernest Hardy
    All these years later, the film is far more infuriating than it is exciting.
    • 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.
    • 56 Metascore
    • 70 Ernest Hardy
    It's smart, funny and insightful and it's quite easy to see what attracted the stars to it.
    • 62 Metascore
    • 70 Ernest Hardy
    Smith has crammed the film with enough genuinely funny moments and insightful bits to make it well worth seeing.
    • 52 Metascore
    • 70 Ernest Hardy
    Funny, immediately and consistently engaging, and -- well done on almost every level.
    • 61 Metascore
    • 70 Ernest Hardy
    Slow and depressing, but ultimately haunting film.
    • 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.
    • 81 Metascore
    • 70 Ernest Hardy
    The great power of the film lies in its simplicity, in the slow-building tension and psychological melt-downs that are the result of stark, bare-bones film-making.
    • 55 Metascore
    • 60 Ernest Hardy
    It is -- in mood, execution, and shameless sentimentality -- a Bette Midler movie with an Irish accent.
    • 81 Metascore
    • 60 Ernest Hardy
    Remind(s) us of the power of good old-fashioned character-driven movies.
    • 63 Metascore
    • 60 Ernest Hardy
    Isn't a must-see, but it's definitely worthwhile.
    • 73 Metascore
    • 60 Ernest Hardy
    For those seeking even a little adventurousness in their filmgoing experiences, the movie will wear thin very quickly.
    • 45 Metascore
    • 60 Ernest Hardy
    Although the film disappoints in the final stretch (both the villain and his motive turn out to be very lame), it confidently thrills for most of its nearly two-hour length.
    • 48 Metascore
    • 60 Ernest Hardy
    In the end, solid acting, stellar special-effects, and well-wrought tension make the film a worthy date flick or matinee outing.
    • 74 Metascore
    • 60 Ernest Hardy
    Drags on far too long.
    • 68 Metascore
    • 60 Ernest Hardy
    A good, though unremarkable, film.
    • 71 Metascore
    • 60 Ernest Hardy
    If only this movie were rich enough, strong enough to be worthy of this (Dafoe's) performance.
    • 67 Metascore
    • 50 Ernest Hardy
    Disappointingly dumb.
    • 40 Metascore
    • 50 Ernest Hardy
    An adequate popcorn matinee flick that's anchored by Judd's wonderful lead performance -- a performance that is better than the film earns or deserves.
    • 70 Metascore
    • 50 Ernest Hardy
    Too slow-moving and too understated in much of its humor.
    • 45 Metascore
    • 50 Ernest Hardy
    For adults, the film will drag in spots, but it's filled with all those values you hope to instill in your children.
    • 46 Metascore
    • 50 Ernest Hardy
    Though the film is generally weak, treading very familiar ground, those dashes of insight and humor - along with Griffiths' performance - pull you into the film.
    • 63 Metascore
    • 50 Ernest Hardy
    As he explains the male-male relationships and the absence of stigma or judgment, the film soars.
    • 44 Metascore
    • 50 Ernest Hardy
    The latest installment in the "Boys Life" series has just as many hits as misses -- more misses, actually -- but the high points easily stand alongside past triumphs.
    • 61 Metascore
    • 50 Ernest Hardy
    Mildly amusing, both charming and diverting, it plays like a La La Land home movie.
    • 44 Metascore
    • 50 Ernest Hardy
    The audience for this film would be those people who like their cinematic fare pre-digested and painfully familiar.
    • 33 Metascore
    • 50 Ernest Hardy
    A feel-good, heartwarming film that all but drowns in saccharine.
    • 70 Metascore
    • 50 Ernest Hardy
    Hamlet, like its title character, is a mopey, dopey thing that you just want to scream at: Do something!
    • 62 Metascore
    • 50 Ernest Hardy
    Coy, cutesy, sentimental, and shamelessly manipulative.
    • 52 Metascore
    • 50 Ernest Hardy
    Like the melancholy remininces of an old relative who lived through an exciting, even harrowing time, but no longer possesses the mental faculties to really flesh out the tale they're spinning.
    • 50 Metascore
    • 50 Ernest Hardy
    Infuriating on almost every conceivable level.
    • 64 Metascore
    • 50 Ernest Hardy
    A very odd cinematic creature.
    • 57 Metascore
    • 50 Ernest Hardy
    Hamstrung by a script that is too often smug, obvious and self-important.
    • 66 Metascore
    • 50 Ernest Hardy
    It has to be noted that the use of music in this film is the worse in recent memory: maudlin, syrupy, and overwrought.
    • 53 Metascore
    • 50 Ernest Hardy
    Stripped of the pretension of the overrated "Trainspotting," but it's also void of the earlier film's ambition or glimmers of real cultural insight.
    • 70 Metascore
    • 50 Ernest Hardy
    We don't really care about this everyman's moral dilemna and spiritual crisis because -- for all the poetic insights he offers in his philosophical voice-over -- he never transcends the details to become an engrossing character.
    • 55 Metascore
    • 40 Ernest Hardy
    It limps, not gallops, across the screen for what seems an interminable stretch of time and leaves the viewer with precious little to show for the experience.
    • 48 Metascore
    • 40 Ernest Hardy
    We should expect more of summer fare than that it merely be a visual junk-food snack as we cool off in the chill of a darkened theater.
    • 61 Metascore
    • 40 Ernest Hardy
    Stranded in superficiality, the film is a lifestyle commercial.
    • 52 Metascore
    • 40 Ernest Hardy
    Rung with numb inarticulateness.
    • 40 Metascore
    • 40 Ernest Hardy
    It's not bad; it's just completely inconsequential.
    • 50 Metascore
    • 40 Ernest Hardy
    Steadfastly conventional.
    • 27 Metascore
    • 40 Ernest Hardy
    Wants to be many things, but ends up being not much of anything.
    • 51 Metascore
    • 40 Ernest Hardy
    A constant video rental for a community that aches to see itself as banal and generic.
    • 40 Metascore
    • 40 Ernest Hardy
    What makes The Cell worth viewing at all is the carefully sculpted imagery.
    • 60 Metascore
    • 40 Ernest Hardy
    Unfortunately, whenever the story quiets down for exposition or to move the plot forward, it all becomes a grinding and often confusing bore.
    • 55 Metascore
    • 40 Ernest Hardy
    A very competent film, but it barely pulls you in.
    • 33 Metascore
    • 40 Ernest Hardy
    It's hollow, forced and false.