Adrian Horton

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The Guardian
For 156 reviews, this critic has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 7.3 points lower than other critics. (0-100 point scale)

Adrian Horton's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 No Other Land
Lowest review score: 20 The Glorias
Score distribution:
  1. Positive: 43 out of 156
  2. Mixed: 107 out of 156
  3. Negative: 6 out of 156
156 movie reviews
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    • 64 Metascore
    • 60 Adrian Horton
    Turtles All the Way Down
    The successes are in large part owed to Merced’s sensitive, grounded performance, her open face able to pass amusement, anxiety, self-loathing vitriol, panic attack and relief like quicksand. Her performance alone can absorb the film’s rougher edges, vaguer lines and dramatic whiffs, especially when assisted by a strikingly natural Cree.
    • 58 Metascore
    • 60 Adrian Horton
    The Accountant 2
    That’s mostly for the better. The Accountant 2 is a more fun affair than The Accountant, if you’re a fan of very loud shoot ’em ups, nonsensical crime webs and rogue good guys fighting obviously very bad guys, though this outing is sadly missing Anna Kendrick.
    • 70 Metascore
    • 60 Adrian Horton
    Materialists
    Inconsistent but never insubstantial, Materialists is far from perfect, but that doesn’t mean it’s not worthy of a date.
    • 40 Metascore
    • 60 Adrian Horton
    Merv
    As it is, Merv is slight and sweet and entirely to expectations. Making a movie about co-parenting a dog is not a bad idea – though I wouldn’t say it’s a great one, either.
    • 53 Metascore
    • 60 Adrian Horton
    The Moment
    In other words, smart concepts, talented people, solid blueprint. But there is too little risk – in the defanged satire, in the muddled thematic sprawl, even in a late-stage satirical swing that, for this fan, jumped the shark – to rise above its sharp-eyed construction.
    • 64 Metascore
    • 60 Adrian Horton
    Sitting in Bars with Cake
    Sitting in Bars with Cake careens from zany bar-hopping to hospital, cake baking ASMR to cancer weepie. You could argue that that’s life itself – a lot of chaos, bathos amid the profound – but that’s giving too much credit to the film’s murkier, underdeveloped bits. Still, it has a lasting bittersweetness to it.
    • 50 Metascore
    • 60 Adrian Horton
    Hot Frosty
    It’s a sincerely stupid idea executed sincerely, with seemingly complete buy-in from all involved that yes, this is a movie about a snowman with abs. I’ll take that type of brain freeze, for now.
    • 62 Metascore
    • 60 Adrian Horton
    A Million Miles Away
    In the hands of director Alejandra Márquez Abella, it is impossible not to be charmed by this tale of tenacity, commitment and community
    • 42 Metascore
    • 60 Adrian Horton
    Cheaper by the Dozen
    Braff and Union have passable chemistry, but Union’s charisma and confidence is magnetic in any context including this one. It’s all breezy – there are no bad actors or malicious intent (other than that one Calabasas woman), so the drama is light and the messes are quickly cleaned up.
    • 73 Metascore
    • 60 Adrian Horton
    The Iron Claw
    The Von Erichs endured so much loss, and Durkin manages to convey some of it.
    • 68 Metascore
    • 60 Adrian Horton
    Problemista
    The predominant mode of Problemista is playful, its comic sensibility curious and askew – enough to make the film, a promising if uneven debut, a delight throughout.
    • 62 Metascore
    • 60 Adrian Horton
    Anything's Possible
    Anything’s Possible is another needed step in the right direction – a just-fine high school romantic comedy about an unapologetic, bold trans teenager on a major streaming platform.
    • 88 Metascore
    • 60 Adrian Horton
    Train Dreams
    At its best, writer/director Clint Bentley and co-writer Greg Kwedar have crafted a gorgeous and poignant film of quiet, bruised life in a fragile place, anchored by a magnificently sensitive and restrained performance from the still-underrated Edgerton.
    • 64 Metascore
    • 60 Adrian Horton
    Thelma the Unicorn
    In a sea of family content that’s more often than not annoying, Thelma the Unicorn surfs, for the most part, above the crowd.
    • 49 Metascore
    • 60 Adrian Horton
    Look Both Ways
    Its affect is warm and reassuring, its methods for affirming that everything’s gonna be all right are cozy and tame, especially in regards to young motherhood.
    • 49 Metascore
    • 60 Adrian Horton
    The Front Room
    The Front Room does capture one delicious, rich truth: hell hath no fury like a mother-in-law scorned.
    • 51 Metascore
    • 60 Adrian Horton
    The Weekend Away
    It’s a thriller by name but less edge-of-your-seat than lounging on the couch, absorbing beats of plot like the ocean tide. A little provocation with slight commitment – that’s not a bad night in by any means.
    • 57 Metascore
    • 60 Adrian Horton
    Birds of Paradise
    Birds of Paradise, then, settles into a weird, slightly unsettling middle-ground – beautiful yet hollow, intriguing yet distanced, skillfully performed without much of a beating heart. Like its principal dancers, its a portrait of contrasts, though the friction here doesn’t generate much heat.
    • 46 Metascore
    • 60 Adrian Horton
    IF
    For a film that very much bills itself as a comedy, particularly through the lovable and literally bumbling character of Blue, If is fairly short on actual laughs. Instead, it settles by the end into misty-eyed, mostly earned sweetness, with the evergreen lesson of remembering love and playfulness as you grow up.
    • 85 Metascore
    • 60 Adrian Horton
    A Real Pain
    A Real Pain is occasionally insightful on the subject of suffering, sometimes funny, a bit endearing, a little pretentious, often dry.
    • 51 Metascore
    • 60 Adrian Horton
    See You When I See You
    For a film so sincerely intent on bringing us into the process of sibling grief, I still left a stranger.
    • 81 Metascore
    • 60 Adrian Horton
    A Thousand and One
    There are many things working well in Rockwell’s debut, Taylor’s performance chief among them, but the end result doesn’t match her character’s formidable strength.
    • 49 Metascore
    • 60 Adrian Horton
    Y2K
    Mooney and Winter’s horror comedy may be all over the place, and unserious to its own detriment, but at least they commit to the bit.
    • 72 Metascore
    • 60 Adrian Horton
    Am I OK?
    Am I OK? is strongest when embedded in the two friends’ well-worn, effusive bond, in sickness or in health – when the fight comes the barbs are believably lacerating, the kind only best friends can wield.
    • 50 Metascore
    • 60 Adrian Horton
    The American Society of Magical Negroes
    At its best, the film skewers the potentially eye-rolling concept of white fragility with visual panache and wit.
    • tbd Metascore
    • 60 Adrian Horton
    Sweet Bobby: My Catfish Nightmare
    The story is, frankly, so crazy, the scheme so intricate and complex – I don’t want to spoil it for those who, like me, hadn’t heard the hit podcast it was based on, but suffice to say I remain astounded – that hearing Kirat tell it plain would be riveting enough.
    • 83 Metascore
    • 60 Adrian Horton
    His Three Daughters
    Given His Three Daughters’ fidelity to the cold facts of dying, the final minutes makes a bold and uneasy logic leap that pulls on the heartstrings but feels too neat for a drama this lived in, for sibling bonds this spiky.
    • 62 Metascore
    • 60 Adrian Horton
    Not Okay
    Not Okay is like many “internet movies” before it – approaching uncanny valley, somewhat obvious, just a little off — but this unsettling darkness makes it a solid entry into the canon of just-okay social media films.
    • 55 Metascore
    • 60 Adrian Horton
    Spy Kids: Armageddon
    More than two decades since the original, Rodriguez maintains his ability to invoke a child’s sense of adventure and absurdity.
    • 70 Metascore
    • 60 Adrian Horton
    Monkey Man
    If you have the stomach for singularly focused revenge and some truly graphic, visceral hand-to-hand combat, Monkey Man delivers the goods.
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