For 1,628 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 1.5 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Finding Nemo
Lowest review score: 0 End of Days
Score distribution:
1628 movie reviews
    • 91 Metascore
    • 100 Ann Hornaday
    Thanks to Burnham’s exuberant, alert writing and Fisher’s masterful command of vulnerability, anxiety, resilience and steadfast self-belief, Kayla emerges as an icon of her own — just by being herself.
    • 74 Metascore
    • 100 Ann Hornaday
    The best films teach you how to watch them within the first few minutes. Blindspotting is no exception. The film gets off to an exhilarating start, with split-screen images of Oakland, Calif., unspooling to the tune of a soaring aria.
    • 67 Metascore
    • 50 Ann Hornaday
    Uplift winds up getting the better of “Don’t Worry,” in which Phoenix delivers an impressively committed performance that nonetheless can’t overcome the movie’s worship of Callahan’s most immature, solipsistic and self-dramatizing foibles. A movie that’s supposed to inspire winds up being irritating instead.
    • 77 Metascore
    • 75 Ann Hornaday
    This crafty sociological thriller, set amid the pristine townhouses and lawns of a quiet Reykjavik suburb, builds slowly but surely into a film that feels utterly of a piece with a much wider world.
    • 47 Metascore
    • 37 Ann Hornaday
    The director tries to infuse Shock and Awe with the taut procedural drama of “All the President’s Men,” “Spotlight” or “The Post.” But he winds up demonstrating just how difficult it is to make shoe-leather journalism entertaining, much less artful.
    • 81 Metascore
    • 63 Ann Hornaday
    This is a movie of myriad worthy, even urgently necessary, ideas; when it reaches its climax, it goes completely haywire in a preposterous, increasingly scattershot sci-fi pastiche.
    • 75 Metascore
    • 75 Ann Hornaday
    Although Whitney follows a familiar structure, Macdonald infuses it with artful editorial choices, marking the chapters of Houston’s life with brief but vivid montages of the times in which she lived.
    • 63 Metascore
    • 75 Ann Hornaday
    In Damsel, sibling filmmakers David and Nathan Zellner have created the perfect western for the #MeToo era, delightfully twisting and torquing the traditional woman-in-jeopardy narrative to create a clever, comical and uncannily relevant allegory.
    • 70 Metascore
    • 63 Ann Hornaday
    As “Guardians” and, later, “Deadpool” doubled down on the snark, “Ant-Man” kept things light, its playfulness made all the more endearing by the boyish, twinkle-eyed persona of its star, Paul Rudd.
    • 67 Metascore
    • 50 Ann Hornaday
    The mopey, midwinter atmosphere of Nancy becomes increasingly and oppressively bleak, leavened only by Smith-Cameron’s spot-on portrayal of her character’s trembling, painfully fragile optimism.
    • 82 Metascore
    • 75 Ann Hornaday
    This handsomely staged production plays like a soothingly thoughtful balm.
    • 56 Metascore
    • 50 Ann Hornaday
    Tag
    The best way to appreciate this fitfully funny collection of japes and jests is to treat it like any teenage boy in your midst: Focus on the positives and know that even its worst is only a phase.
    • 60 Metascore
    • 63 Ann Hornaday
    Benefits from a sensitive, even-tempered tone, as well as terrific supporting performances from Spencer, Ann Dowd (as Alex’s status-obsessed mom) and a scene-stealing Amy Landecker, who plays an ambivalent therapy client of Greg’s.
    • 87 Metascore
    • 75 Ann Hornaday
    Creepy, creepy, creepy. Writer-director Ari Aster makes an impressively unnerving debut with Hereditary, a meticulously crafted horror thriller.
    • 85 Metascore
    • 100 Ann Hornaday
    Neville has created a film that operates both as a dewy-eyed nostalgia trip and stirring appeal for civility.
    • 73 Metascore
    • 75 Ann Hornaday
    Filmworker is a tribute to the unsung artisans, assistants, best boys and girl Fridays whose indelible contributions make movies not just possible, but magical.
    • 67 Metascore
    • 75 Ann Hornaday
    At its best, The Gospel According to Andre gives viewers the rare chance to get to know someone who, until now, has mostly been known as that impeccably turned-out gentleman who seems to know everybody at the annual Costume Institute gala.
    • 85 Metascore
    • 100 Ann Hornaday
    At once ruminative and shocking, godwardly inclined and repellently graphic, First Reformed is indisputably the finest film Schrader has directed since his sensitive adaptation of Russell Banks’s novel “Affliction.”
    • 63 Metascore
    • 75 Ann Hornaday
    In this stirring portrait, it’s possible to see evangelism not in hectoring words or holier-than-thou bromides, but in loving action. Who wouldn’t say amen to that?
    • 53 Metascore
    • 75 Ann Hornaday
    It has brio, rueful humor and celebratory verve that is nearly impossible to resist.
    • 62 Metascore
    • 50 Ann Hornaday
    Solo: A Star Wars Story gets the job done with little fuss, but also with precious little finesse. It might arguably succeed in teeing up the cinematic narrative that would change movies forever. But in both substance and execution, it bears but a whisper of the revolution to come.
    • 79 Metascore
    • 63 Ann Hornaday
    It’s when the dream of “Annihilation” collides so felicitously with lived reality that the film coalesces and takes hold. It may be broken eventually, but for a while the spell is a powerful one, and nearly irresistible.
    • 79 Metascore
    • 75 Ann Hornaday
    Let the Sunshine In doesn’t offer a consistently pretty picture. Where some viewers might view Isabelle as a hopelessly stunted victim of self-deception, others will see an avatar of empowerment and autonomy.
    • 55 Metascore
    • 50 Ann Hornaday
    A diverting bagatelle that could have been tougher, a pastiche that could have probed deeper. Tant pis, as Godard himself might have said: Too bad.
    • 92 Metascore
    • 100 Ann Hornaday
    Filmed with widescreen grandeur on the Pine Ridge Reservation in South Dakota, The Rider reinvigorates tropes from the western genre of men, horses, honor codes and vast expanses of nature with a refreshing lack of sentimentality, without sacrificing their inherent lyricism and poetry.
    • 63 Metascore
    • 88 Ann Hornaday
    Sometimes a movie comes along that, devoid of a noisy publicity push or festival buzz, quietly ambushes the unsuspecting viewer with an absorbing, skillfully executed, meaningful and thoroughly entertaining experience. Ladies and gentlemen, Borg vs. McEnroe is just that kind of film.
    • 84 Metascore
    • 50 Ann Hornaday
    As beautiful and compelling as Ramsay’s filmmaking and Phoenix’s central performance are, the degree to which viewers will buy You Were Never Really Here depends on the degree to which they accept yet another display of febrile vigilante brutality motivated by sexual violence perpetrated against young girls. One person’s trope, after all, is another’s shopworn cliche.
    • 69 Metascore
    • 75 Ann Hornaday
    Beirut is an engaging, well-crafted thriller, offering a showcase not just for Hamm but for Rosamund Pike (playing his levelheaded handler) and an ensemble of terrific character actors, including Dean Norris, Shea Whigham and Larry Pine.
    • 82 Metascore
    • 100 Ann Hornaday
    As a celebration of the physical expressiveness and visual storytelling of silent cinema, A Quiet Place speaks volumes without a word being uttered.
    • 69 Metascore
    • 63 Ann Hornaday
    Blockers suffers from ungainly, choppy pacing. It feels like a slapdash collection of scenes rather than a balloon sent smoothly aloft, with jokes often falling as flat as Cena’s buzz cut (a running gag centers on his tough-guy character’s propensity for crying, a go-to bit that ages fast).

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