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

Ernest Hardy's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Vanishing Pearls: The Oystermen of Pointe a la Hache
Lowest review score: 0 The Wash
Score distribution:
599 movie reviews
    • 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.
    • 55 Metascore
    • 60 Ernest Hardy
    When Boote gets out of the way, the film is illuminating and infuriating.
    • 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.
    • 57 Metascore
    • 60 Ernest Hardy
    The film's scope is staggering, including its detailed outlining of BP's origins and fingerprints across decades of unrest in Iran.
    • 31 Metascore
    • 60 Ernest Hardy
    Although it's grotesque to see pre-teens stomping in underground warehouse-battle settings, at least Battlefield America's racial politics are interesting.
    • 65 Metascore
    • 60 Ernest Hardy
    Volumes are said about class, assimilation, and the ways the assimilated sometimes shame and scar those who haven't shorn themselves of ethnic or racial signifiers. There is pungency in this shorthand, in these sketches that are richly evocative without saying too much or giving too little. You can't help but wish the movie had more of it.
    • 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.
    • 82 Metascore
    • 60 Ernest Hardy
    This is powerful reportage, beautifully shot and gracefully laid out; too bad that Kendall ties it all up with more deep thoughts from the bus itself, thoughts that sound like outtakes from a TED Talk on the interconnectedness of all living things.
    • 57 Metascore
    • 60 Ernest Hardy
    Shamelessly manipulative, it's a highly effective if not very good film, its success entirely due to the talents of its cast. They bring heart to a script that is unabashedly about pushing buttons.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 60 Ernest Hardy
    The film hits its mark of being a popcorn action flick just fine.
    • tbd Metascore
    • 60 Ernest Hardy
    Director Ruby Yang doesn't even try to upend the clichés that practically define the kind of inspirational documentary she's made about art transforming the lives of at-risk and disabled students. She embraces them while pushing the film toward an eye-misting ending you'll see coming from the opening moments.

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