For 1,844 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 1.6 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Selma
Lowest review score: 0 Tideland
Score distribution:
1844 movie reviews
    • 68 Metascore
    • 75 Ann Hornaday
    Oyelowo brings a thoughtful sensibility and thoroughgoing good taste to the kind of movie Hollywood doesn’t produce anymore but shouldn’t be so quick to discard.
    • 58 Metascore
    • 37 Ann Hornaday
    Unfortunately, The Columnist doesn’t live up to its initial promise: What might have been a trenchant cultural critique couched within poisonously playful genre exercise becomes an indulgence in undifferentiated rage for its own graphic sake.
    • 87 Metascore
    • 75 Ann Hornaday
    Dreamlike and deliberate, pedestrian and theatrical, bland and strangely beautiful, About Endlessness takes in the suffering, struggle and moments of vagrant joy in life and propels them into the cosmos.
    • 54 Metascore
    • 50 Ann Hornaday
    An engrossing but uneven comedy-drama.
    • tbd Metascore
    • 75 Ann Hornaday
    As an exercise in sincerity, fellowship and earnest inquiry, it might be the most subversive movie in circulation right now.
    • 57 Metascore
    • 75 Ann Hornaday
    There are times when French Exit beggars belief and tries the viewer’s patience. But as long as the camera stays on Pfeiffer, we’re all hers.
    • 67 Metascore
    • 75 Ann Hornaday
    Even within the confines of its generic plot and sometimes stilted dialogue, Concrete Cowboy winds up being an engaging and moving family drama. Its sincerity, accomplished cast and proud Philadelphia roots manage to keep it real.
    • 64 Metascore
    • 75 Ann Hornaday
    Still, The Courier makes a smart, stylish stand for the kind of old-fashioned period spy thriller that is increasingly being turned into bingeable series for streaming services. Its modesty and carefully managed ambitions define its strong suit at a time when such films are scarcer every day.
    • 86 Metascore
    • 100 Ann Hornaday
    This endearing, thoroughly entertaining movie might be what we all need right now: An invitation to stop and smell the roses — or, if you’re lucky, their far less showy fungal cousins.
    • 44 Metascore
    • 63 Ann Hornaday
    As nervy and well-made as it is, Cherry feels less personal than pageant-like, especially in a rushed and glibly perfunctory final sequence. It unfolds like an American dream that becomes a nightmare, before switching back again — just before we wake up and shake the whole thing off.
    • 88 Metascore
    • 100 Ann Hornaday
    The Father, ultimately, is a paradox: as nuanced as it is bluntly direct, as tough as it is tender. In its own elegant, confounding, chimerical and compassionate way, it’s a lot like life.
    • 52 Metascore
    • 75 Ann Hornaday
    It’s not great cinema. It’s good at what it sets out to do. Which makes it great fun.
    • 35 Metascore
    • 37 Ann Hornaday
    Full of incident, heartbreak, secrets and betrayal, The Affair and its choppy formal structure don’t do justice to an enormously appealing cast.
    • 52 Metascore
    • 50 Ann Hornaday
    It’s a fascinating story and well worth revisiting. But in the hands of director Lee Daniels, working from a script by the playwright Suzan Lori Parks, what should be a sensitive and densely layered drama instead becomes a perfunctory collection of scenes that feel overwrought and under-considered simultaneously.
    • 93 Metascore
    • 100 Ann Hornaday
    Nomadland is the kind of big and big-hearted movie — featuring a central performance at once epic and fine-tuned — that reminds you of how much life one film can hold, when circumstances allow.
    • 85 Metascore
    • 100 Ann Hornaday
    This is a throwback movie in the best sense of the term, asking the audience to consider the not-too-distant past of anti-Black racism as prologue to its similarly murderous present. It’s also a return to a brand of muscular, serious-minded filmmaking that has been virtually forgotten in recent years.
    • 89 Metascore
    • 75 Ann Hornaday
    It’s a good movie, executed with affectionate humor, wistful honesty and tender care.
    • 63 Metascore
    • 75 Ann Hornaday
    Viggo Mortensen makes a sensitive and assured directing debut with Falling, a meditation on aging, mortality and slow-drip loss that will resonate deeply with anyone going through the agonies it depicts.
    • 82 Metascore
    • 100 Ann Hornaday
    In this absorbing and rigorously disciplined account, Konchalovsky proves that a healthy embrace of nuance doesn't need to result in muddled thinking. Indeed, it can lead to something sharp, bright and dazzlingly precise.
    • 53 Metascore
    • 50 Ann Hornaday
    Graciously accompanied by Washington (who can even make eating mac-and-cheese compelling), Zendaya emerges as the star of this show, delivering a performance that calls on sudden, turn-on-a-dime reversals — emotional figure-eights that she executes with impressive, unstudied finesse.
    • 78 Metascore
    • 75 Ann Hornaday
    Written and directed by Stéphanie Chuat and Véronique Reymond with superb control and insight, My Little Sister never goes precisely where the audience expects, as the filmmakers dole out crucial information at well-timed intervals, illuminating the pieces of Lisa and Sven’s past that have brought them to this life-or-death point.
    • 81 Metascore
    • 100 Ann Hornaday
    The result is a film that does more than impart facts, or even tell a story: It builds a world, and once we’re in it, takes us on a potent and unforgettable emotional journey.
    • 66 Metascore
    • 37 Ann Hornaday
    Vanessa Kirby delivers a bravura performance in Pieces of a Woman. In fact, her performance is so commanding, uncompromising and far-ranging that it often threatens to swallow this otherwise uneven and frustratingly thin movie with one voracious gulp.
    • 71 Metascore
    • 63 Ann Hornaday
    As trite as Herself is in plot and emotional beats, what makes it worthwhile are the performances, which are all stellar.
    • 83 Metascore
    • 75 Ann Hornaday
    As a filmed version of a play, One Night in Miami has the same talky, slightly claustrophobic contours one might expect. But that pent-up quality is an advantage for a movie in which the room where it might have happened is a character in itself.
    • 73 Metascore
    • 88 Ann Hornaday
    Say this much for Fennell: She is incapable of pulling punches. Even when they’re swaddled in the puffiest, fuzziest of gloves, her blows land with gut-wrenching force.
    • 83 Metascore
    • 63 Ann Hornaday
    This dazzling, if ultimately frustrating, movie seems to pick up where the far superior “Inside Out” ended, leaving behind the inner workings of young people’s emotional lives for an exploration of metaphysical realms that are fuzzier, more speculative and, to put it bluntly, not nearly as involving.
    • 60 Metascore
    • 63 Ann Hornaday
    For the first hour and a half, WW84 is a delightful flight of escapist fancy, with Diana and Steve's love story ensconcing itself comfortably, if a bit talkily, within the confines of an action adventure. Then, at the 90 minute mark, it’s as if Jenkins remembers her other deliverables, in the form of special effects, epic global crises and a plotty, ever-more-muddled story line that metastasizes into something much darker and more violent.
    • 73 Metascore
    • 75 Ann Hornaday
    So many of our problems remain, but 40 Years a Prisoner presents a valuable primer on what mistakes not to repeat.
    • 87 Metascore
    • 100 Ann Hornaday
    Wolfe keeps the production simple, albeit with attractively rich visual values and gorgeous costumes, allowing the performances to exert their mesmerizing force. And nowhere is that magnetism more palpable than when Davis and Boseman are going toe to toe, their energies repelling one another one moment and fusing the next.

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