For 189 reviews, this critic has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Robert Horton's Scores

  • Movies
Average review score: 52
Highest review score: 100 The People vs. Larry Flynt
Lowest review score: 0 Tomcats
Score distribution:
  1. Positive: 63 out of 189
  2. Negative: 39 out of 189
189 movie reviews
    • 79 Metascore
    • 100 Robert Horton
    Forman imbues the material with exactly the right dry, satirical flavor, yet this story is still a Frank Capra little-guy-against-the-system picture.
    • 95 Metascore
    • 100 Robert Horton
    Conveys not just a joy in music and The Beatles, but a joy in cinema.
    • 90 Metascore
    • 100 Robert Horton
    You'll treasure this movie.
    • 90 Metascore
    • 100 Robert Horton
    Absolutely, see the movie.
    • 86 Metascore
    • 90 Robert Horton
    Movie excitement from beginning to end.
    • 73 Metascore
    • 90 Robert Horton
    Well-crafted scenes that carry a bracingly grown-up tang: unhurried, played in a low key, with plenty of time to savor the details of character and place.
    • 81 Metascore
    • 90 Robert Horton
    One of the best films of the year, a polished, contained piece of provocation.
    • 82 Metascore
    • 90 Robert Horton
    An unleashed Raimi may be a more exciting moviemaker, but there's something to be said for the virtues of a good story well told, which describes A Simple Plan down to its last shivery snowflake.
    • 71 Metascore
    • 90 Robert Horton
    This is a beautiful, surprisingly uplifting movie, made by someone who actually understands people.
    • 90 Metascore
    • 90 Robert Horton
    A magnificent piece of movie-making.
    • 88 Metascore
    • 90 Robert Horton
    Doesn't have the purity, the sense of discovery, of the first Toy Story, but it's still an utter delight. Its images and gags keep replaying themselves in the mind well after the film is over.
    • 82 Metascore
    • 90 Robert Horton
    It's like a madly inventive hybrid of "Dr. Strangelove" and "The Treasure of the Sierra Madre."
    • 68 Metascore
    • 90 Robert Horton
    It's Kubrick, for sure, and in often mesmerizing form.
    • 82 Metascore
    • 90 Robert Horton
    Furiously uncompromising, and therefore absolutely alive.
    • 75 Metascore
    • 80 Robert Horton
    Part of the appeal of John Irving's writing is its sense of bounty, the way the world is offered up as a horn of plenty. The Cider House Rules movie, by contrast, feels narrowed down to small slices of experience.
    • 77 Metascore
    • 80 Robert Horton
    Like other aspects of this film, the image may be a little too perfect, a little too careful.
    • 65 Metascore
    • 80 Robert Horton
    I'm not sure how elaborately I could defend Pola X, but I loved watching it.
    • 74 Metascore
    • 80 Robert Horton
    Director Stephen Daldry gets it right.
    • 62 Metascore
    • 80 Robert Horton
    Highly enjoyable.
    • 65 Metascore
    • 80 Robert Horton
    It's swell when a film really does capture a book in some exactitude.
    • 72 Metascore
    • 80 Robert Horton
    Strangely enough, this movie provides a lot of the James Bond veneer that has been missing from recent James Bond movies.
    • 77 Metascore
    • 80 Robert Horton
    Once again writer-director Cameron Crowe has gotten all the little details just right.
    • 74 Metascore
    • 80 Robert Horton
    A fitting tribute to an era, a writer, and an unapologetic eccentric.
    • 64 Metascore
    • 80 Robert Horton
    Kate Hudson's accent is spot-on, and she brings her megawattage to good use on the Gershwin standard, "The Man I Love."
    • 84 Metascore
    • 80 Robert Horton
    It's great that this movie exists.
    • 87 Metascore
    • 80 Robert Horton
    It's got both the sweeping spectacle and the keen, tactile sense of human intimacy.
    • 69 Metascore
    • 80 Robert Horton
    All I can say is this particular excursion into screwball madness is often heavenly, and frankly leaves critical explication somewhat unnecessary. Go see it and laugh.
    • 90 Metascore
    • 80 Robert Horton
    A smart, engaging movie.
    • 65 Metascore
    • 80 Robert Horton
    It is thrilling to look at, and that's more than one can say for the majority of pictures out there.
    • 66 Metascore
    • 80 Robert Horton
    Never less than dazzling to look at, and the scorching humor keeps it alive from scene to scene.
    • 78 Metascore
    • 80 Robert Horton
    The Taste of Others takes regular (but not ordinary) people and knocks them out of their usual zones of activity. The resulting collisions leave behind a very pleasing flavor.
    • 46 Metascore
    • 80 Robert Horton
    Carrey is an actor possessed. He's brilliant.
    • 73 Metascore
    • 80 Robert Horton
    The kind of college movie people will be quoting for years.
    • 76 Metascore
    • 80 Robert Horton
    May be Hitchcock on holiday, but that's a perfectly enjoyable vacation.
    • 76 Metascore
    • 80 Robert Horton
    The bleakness of the material ought to make Ratcatcher a depressing experience, yet Ramsay's power as an image-crafter transforms this grim universe.
    • 64 Metascore
    • 70 Robert Horton
    The heroism and the tigers and the epic grandeur all leave behind the flavor of cynicism.
    • 71 Metascore
    • 70 Robert Horton
    For the most part, a delight.
    • 57 Metascore
    • 70 Robert Horton
    An acerbically comic fable.
    • 71 Metascore
    • 70 Robert Horton
    Quick and funny, and a refreshing break from period-film stuffiness.
    • 70 Metascore
    • 70 Robert Horton
    A crowd pleaser, but there's something a bit prim and pre-determined about its conclusions.
    • 57 Metascore
    • 70 Robert Horton
    I'm not even sure the movie makes sense at times, yet Campion's offbeat rhythms and eye for startling images always made me happy to be looking at the screen.
    • 71 Metascore
    • 70 Robert Horton
    Sometimes feels like an acting class gone berserk, with Penn indulging his high-powered cast
    • 71 Metascore
    • 70 Robert Horton
    Terrific idea, brilliantly worked out on a technical level.
    • 62 Metascore
    • 70 Robert Horton
    One of those hybrid projects: a major studio film, big star, homely storyline, but tempered by an indie director working in his own idiosyncratic style.
    • 52 Metascore
    • 70 Robert Horton
    There isn't a sensible reason to recommend this movie, except that its melange of clichés and conventions is embarrassingly enjoyable.
    • 57 Metascore
    • 70 Robert Horton
    Scott Thomas and Penn finally develop a bit of unlikely chemistry, aided by the Hitchcockian atmosphere. I found myself rooting for these foolish, pampered, naïve people, and rooting for the movie as well.
    • 67 Metascore
    • 70 Robert Horton
    The picture has an appropriately grungy sense of place.
    • 67 Metascore
    • 70 Robert Horton
    The film version of this civilized beauty, captures the amusing gloss of the story but not the sense that something grave is going on beneath it all.
    • 57 Metascore
    • 70 Robert Horton
    More complicated, more outrageous, less controlled in every way. But its owes its power to that earlier, greater film.
    • 69 Metascore
    • 70 Robert Horton
    Feels like a first draft, in need of toning, pruning, and a little old-fashioned discipline. As an outline, the picture is full of possibilities.
    • 66 Metascore
    • 70 Robert Horton
    Has a real sense of the wonder of the early years.
    • 64 Metascore
    • 70 Robert Horton
    Nearly the perfect balance between straight-faced pulp action and amused wonder at the outlandish world of comic books.
    • 73 Metascore
    • 70 Robert Horton
    Takes an easy target and turns it into something naggingly weird.
    • 52 Metascore
    • 70 Robert Horton
    Something rare: a mess of a movie that is somehow infectious, and infectious not despite the mess, but because of it.
    • 57 Metascore
    • 70 Robert Horton
    A small, scruffy, but agreeably energized comedy.
    • 86 Metascore
    • 70 Robert Horton
    If it is never really as profound as it seems to think it is, American Beauty is consistently entertaining, and it earns points simply for acknowledging that all may not be perfect in the current boom years.
    • 78 Metascore
    • 70 Robert Horton
    Tight and quick-moving, the film scores its points and gets on with it.
    • 66 Metascore
    • 70 Robert Horton
    A piece of fluff that can be enjoyed without guilt.
    • 70 Metascore
    • 70 Robert Horton
    Primary Colors is by turns hugely entertaining and resoundingly square, beginning as a raucous black comedy about political mechanics and ending as a sober-sided morality tale.
    • 74 Metascore
    • 70 Robert Horton
    Like it or hate it, Titanic lives and breathes as a piece of pure cinema.
    • 60 Metascore
    • 70 Robert Horton
    Barrymore's sunny energy pushes the movie along, but halfway through you realize there just isn't that much to push.
    • 73 Metascore
    • 70 Robert Horton
    While this movie is no great advance in cinema comedy, it is rewardingly silly.
    • 74 Metascore
    • 70 Robert Horton
    There's something thin about the picture-both in its ideas and its visual texture.
    • 50 Metascore
    • 60 Robert Horton
    Hughley and Jones have an explosively comic chemistry together; her kooky, open-faced looks are a counterpoint to his whipcrack improvisations.
    • 74 Metascore
    • 60 Robert Horton
    If it weren't so pushy about selling itself, The Dish might have been a very special movie.
    • 59 Metascore
    • 60 Robert Horton
    This relationship might be strong enough to carry an observational novel, but the movie feels like it's missing something.
    • 34 Metascore
    • 60 Robert Horton
    Good enough in spots to make you wish it could have sustained its campier inclinations.
    • 59 Metascore
    • 60 Robert Horton
    (Tyler's) voice is still mall American, and Onegin's rejection of her is nowhere near as puzzling or as tragic as it's supposed to be.
    • 56 Metascore
    • 60 Robert Horton
    Enough well-conceived jokes that the whole thing works very nicely.
    • 26 Metascore
    • 60 Robert Horton
    For me, Trixie finds its own peculiar groove, and-buoyed by a compulsively watchable actress-folds neatly into the off-center work of a distinctive American director.
    • 40 Metascore
    • 60 Robert Horton
    Looks like a very cheerful and imaginative accident.
    • 68 Metascore
    • 60 Robert Horton
    When it counts, this film is absolutely successful.
    • 67 Metascore
    • 60 Robert Horton
    When the film is sexy, it's truly sexy, assuming that you believe sexiness has something to do with the exploration of a connection between people.
    • 73 Metascore
    • 60 Robert Horton
    Julia Roberts owns this sweet-natured film.
    • 75 Metascore
    • 60 Robert Horton
    Bulworth shoots along with great vigor, and its non-politically correct jabs are occasionally exhilarating.
    • 59 Metascore
    • 60 Robert Horton
    Little of this is plausible, but it is beguiling.
    • 60 Metascore
    • 60 Robert Horton
    The problem is that the motion picture around these individual stunts is patently a committee-made artifact.
    • 61 Metascore
    • 60 Robert Horton
    I still feel pushed around by Darabont's mysticism, and his overbearing sense of grandness; a little bit of the Mile goes a long way.
    • 47 Metascore
    • 60 Robert Horton
    Works best as a free-flowing essay.
    • 61 Metascore
    • 60 Robert Horton
    Worth a look, even if it doesn't quite find the internal logic it seems to be searching for.
    • 46 Metascore
    • 60 Robert Horton
    A reminder of why Bullock became a movie star in the first place.
    • 66 Metascore
    • 60 Robert Horton
    The movie gives us episodes from her life, and although some of them are charming and all of them well-played, I occasionally found myself wondering why I should want to be interested in this person.
    • 63 Metascore
    • 60 Robert Horton
    Gibson's performance is robbed of his customary humor, and he flounders around in search of the character's core.
    • 59 Metascore
    • 60 Robert Horton
    The storm is the reason to see the movie.
    • 40 Metascore
    • 50 Robert Horton
    A generally dumb movie with a smart, appealing, gutsy leading lady.
    • 49 Metascore
    • 50 Robert Horton
    There's very little here that rises above the level of a competent straight-to-video picture, except that whenever Paul Newman and Linda Fiorentino are onscreen together they create something special.
    • 54 Metascore
    • 50 Robert Horton
    A difficult time rising above the level of a reasonably nice TV-movie.
    • 38 Metascore
    • 50 Robert Horton
    It may be possible that people who never go to the movies will stumble across Blow Dry and find it a charming way to spend an hour and a half, but the rest of us will have the ending written in our heads by the end of the first five minutes.
    • 68 Metascore
    • 50 Robert Horton
    A Mexican film that reaches for a very weird and risky tone, and, I think, fails.
    • 51 Metascore
    • 50 Robert Horton
    A very silly film.
    • 50 Metascore
    • 50 Robert Horton
    The movie itself gets scattered.
    • 58 Metascore
    • 50 Robert Horton
    A collection of movie situations, recognizable from the films of Coppola and Scorsese, with a less obvious debt to Kazan.
    • 52 Metascore
    • 50 Robert Horton
    There's no way out of the excruciating melodrama, and the film withers in its trap.
    • 37 Metascore
    • 50 Robert Horton
    A pleasant surprise that The Crew offers up the charms it does.
    • 44 Metascore
    • 50 Robert Horton
    Not a crowd-pleasing, or even audience-oriented, movie; it's a two-hour-plus mood piece.
    • 47 Metascore
    • 50 Robert Horton
    The result is fantasy that wafts away.
    • 53 Metascore
    • 50 Robert Horton
    Does a lot of little stuff right, and it sparkles at times.
    • 27 Metascore
    • 50 Robert Horton
    This lightweight concoction can't justify a trip out to the multiplex, unless you're a girl between the ages of 12 and 17, but it does provide a launching pad for a group of attractive people.
    • 42 Metascore
    • 50 Robert Horton
    As executive producer of the film, he (Freeman) clearly sees something in Alex Cross, a man much more interesting than the cheesy plot surrounding him.
    • 33 Metascore
    • 50 Robert Horton
    Beginnings don't come much more lurid than this, and the rest of End of Days never quite reaches this level of flat-out wildness again.