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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    • 68 Metascore
    • 60 Adrian Horton
    Selena Gomez: My Mind & Me
    Keshishian, as in Truth or Dare, works in moments which complicates Gomez’s angelic image: being short with a too-glib interviewer, refusing to listen to a friend, reacting poorly to genuine concern. My Mind & Me is strongest, and bravest, in moments like this, illustrating Gomez’s humanity through universal capacities we don’t want recorded.
    • 67 Metascore
    • 60 Adrian Horton
    Deadstream
    Although the whole concept is quite daft, Winter’s energetic and committed performance adds a bit of heft without ever forfeiting the comedy entirely.
    • 66 Metascore
    • 80 Adrian Horton
    Honor Society
    The ending chorus of conclusions wraps up a bit too neatly, though that doesn’t invalidate the enjoyably deranged ride before.
    • 66 Metascore
    • 80 Adrian Horton
    The Sky Is Everywhere
    Decker infuses Nelson’s screenplay with a potent dose of whimsical fantasy, morphing Lennie’s tortuous bereavement into a lonely house, a romantic musical journey and a garden where other complicated, confusing emotions grow.
    • 66 Metascore
    • 80 Adrian Horton
    Do Revenge
    Its outsized mean girl ruthlessness with a candy-coated shell, led by Mendes and Hawke’s commanding performances, is a biting, if overlong, good time.
    • 65 Metascore
    • 40 Adrian Horton
    The Rivals of Amziah King
    McConaughey may be a capable driver, but this is an unwieldy vehicle – oversized, overlong and altogether way too many parts to run smoothly.
    • 43 Metascore
    • 40 Adrian Horton
    Where the Crawdads Sing
    Where the Crawdads Sing never really had an interest in complications, or hardship, or racism as anything beyond wallpaper for its central nature girl fantasy of self-reliance. It would rather stay above the fray, gliding prettily along the marsh without actually getting dirty.
    • 62 Metascore
    • 60 Adrian Horton
    Sick
    Williamson knows how to write a horror script – Sick offers moderate to intense thrills delivered in a compact frame whose Covid 2020 specificity adds more to the tension than it distracts.
    • 65 Metascore
    • 60 Adrian Horton
    To All the Boys: Always and Forever
    The final serving of this three-part confection rarely strays from enjoyable, even if it doesn’t match the seductive sweetness of the first bite.
    • 65 Metascore
    • 80 Adrian Horton
    Drop
    [Fahy's] dialed-in performance is thankfully matched by an overarching crispness to the proceedings – just enough flourishes, an enjoyable but not unbearable amount of stress, no wasted time, a perfect match of star, script and style.
    • 65 Metascore
    • 80 Adrian Horton
    Last Breath
    Riveting, seamless, at points genuinely shocking, Last Breath exemplifies the possibilities of human collaboration – a feat that has stuck with me and, yes, took my breath away.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 60 Adrian Horton
    Call Jane
    Call Jane never quite rises to the level of a rousing battle cry, but does offer a studious examination of a past that could, terrifyingly, become our future.
    • 62 Metascore
    • 40 Adrian Horton
    The Photograph
    Issa Rae and Lakeith Stanfield can’t save this dreary Valentine’s drama that lacks fizzle and emotional stakes.
    • 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.
    • 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
    • 61 Metascore
    • 40 Adrian Horton
    Horse Girl
    The ambition of Horse Girl ultimately gets the better of it, turning what could be a dark but insightful depiction on signs missed in a mental health crisis into an agreement on one’s madness – a game of what’s real, and what’s not, that feels unsettling to play.
    • 61 Metascore
    • 80 Adrian Horton
    The Map of Tiny Perfect Things
    The Map of Tiny Perfect Things holds a contained, idealized world – a trove of romcom enjoyment and small treasures I had no problem looping through.
    • 60 Metascore
    • 40 Adrian Horton
    Magic Farm
    There’s bits of misplaced humor, a firm sense of place and promising performances, but frustratingly little magic to be found here.
    • 59 Metascore
    • 40 Adrian Horton
    Quiz Lady
    The 99-minute film is long on yelling and guffaws, short on punchlines.
    • 59 Metascore
    • 60 Adrian Horton
    Upgraded
    In true streaming economy form, it’s a smooth, ambient operator, made more memorable than it should be by a still underappreciated Mendes, who will hopefully upgrade to more headlining adults roles sooner rather than later.
    • 58 Metascore
    • 20 Adrian Horton
    The Glorias
    Another film might have mined Steinem’s remarkable life for its complications and contradictions, but The Glorias settles for slapdash iconography.
    • 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.
    • 58 Metascore
    • 40 Adrian Horton
    The Strays
    British actor/writer Nathaniel Martello-White’s directorial debut nudges at some uncomfortable fault lines of race and class, but tends to over-index unearned suspense for character development or insight.
    • 57 Metascore
    • 40 Adrian Horton
    Last Letter from Your Lover
    The central romance here is, on paper, a love for the ages, a story of all-consuming passion. It’s not quite so in practice.
    • 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.
    • 57 Metascore
    • 60 Adrian Horton
    Road House
    You come to the Road House for a good time and some knuckle-cracking fights, and on that front, this film delivers, owing to some truly impressive stunt work, a fully convincing performance from Gyllenhaal in Southpaw form, and a crackling screen debut from UFC champ-cum-entertainer Conor McGregor.
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