Ann Hornaday

Select another critic »
Baltimore Sun, Washington Post
For 2,056 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 0.7 points higher than other critics. (0-100 point scale)

Ann Hornaday's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Tragedy of Macbeth
Lowest review score: 0 Orphan
Score distribution:
  1. Positive: 1,363 out of 2056
  2. Mixed: 375 out of 2056
  3. Negative: 318 out of 2056
2056 movie reviews
view
per page
    • 71 Metascore
    • 75 Ann Hornaday
    Molly's Game
    Swift, stylish, tough-minded and sharp-tongued, this engaging fact-based drama, about a young woman who at one point ran the richest poker game in the world, is worth recommending if only to see its star, Jessica Chastain, at the top of her nerviest, most icily self-controlled game.
    • 64 Metascore
    • 100 Ann Hornaday
    Downsizing
    Weird and wonderful, zigging where it should zag and zagging where it should zig, this wildly imaginative flight of fancy strikes an admirably poised balance between whimsy, screwball comedy, social satire and generous meditation on the foibles and highest aspirations of human nature.
    • 94 Metascore
    • 100 Ann Hornaday
    Call Me by Your Name
    An almost sinfully enjoyable movie that both observes and obeys the languid rhythms of a torrid Italian summer.
    • 84 Metascore
    • 75 Ann Hornaday
    Star Wars: Episode VIII - The Last Jedi
    Star Wars: The Last Jedi unspools like a one-movie binge watch, a lively if overlong and busily plotted second chapter to the latest Star Wars trilogy that advances the story and deepens its characters with a combination of irreverent humor and worshipful love for the original text.
    • 83 Metascore
    • 100 Ann Hornaday
    The Post
    If the film has an MVP, it’s Bob Odenkirk, who does a splendid and quietly amusing job of playing The Post’s unsung Pentagon Papers hero, assistant managing editor Ben Bagdikian.
    • 87 Metascore
    • 75 Ann Hornaday
    The Shape of Water
    The Shape of Water may not achieve the aesthetic and thematic heights of 2006’s “Pan’s Labyrinth,” which still stands as del Toro’s masterpiece. But it’s an endearing, even haunting film from one of cinema’s most inventive artists, one who manages to bend even the hoariest B-movie tropes to his idiosyncratic, deeply humanistic imagination.
    • 75 Metascore
    • 100 Ann Hornaday
    Darkest Hour
    Handsomely filmed, intelligently written, accented with just a dash of outright hokum, Darkest Hour ends a year already laden with terrific films about the same subject — including the winsome comedy-drama “Their Finest” and Christopher Nolan’s boldly visual interpretive history “Dunkirk” — and ties it up with a big, crowd-pleasing bow.
    • 74 Metascore
    • 75 Ann Hornaday
    Thelma
    Whether Thelma is the victim of malign forces beyond her control or the Scandinavian equivalent of horror heroine Carrie, is the central question in this superbly controlled, if derivative, variation on a familiar theme.
    • 58 Metascore
    • 75 Ann Hornaday
    Roman J. Israel, Esq.
    One of the great strengths of Roman J. Israel, Esq. is that no one is any one thing.
    • 85 Metascore
    • 100 Ann Hornaday
    Mudbound
    This is a big movie, about big emotions and ideas, which Rees evokes and explores through an extraordinarily rich tapestry of atmosphere, physical setting, visual detail and sensitive, subtle performances.
    • 88 Metascore
    • 75 Ann Hornaday
    Three Billboards Outside Ebbing, Missouri
    His (Martin McDonagh) movie fuses naturalism and hysterically pitched theatricality with sometimes uneasy, but bracing results.
    • 85 Metascore
    • 100 Ann Hornaday
    The Departure
    It’s not often one can have a genuinely spiritual experience watching a movie. But that’s precisely what’s on offer with The Departure, Lana Wilson’s quietly galvanizing portrait of life, death and the thin places in between in modern-day Japan.
    • 65 Metascore
    • 75 Ann Hornaday
    Last Flag Flying
    A movie of enormous humanity and heart.
    • 93 Metascore
    • 100 Ann Hornaday
    Lady Bird
    Lady Bird is a triumph of style, sensibility and spirit. The girl at its center may not be a heavyweight, but her movie is epic.
    • 73 Metascore
    • 50 Ann Hornaday
    The Square
    The Square may be one of the most timely films of this season, but it squanders its own relevancy by shooting fish in the world’s most shallow, painfully obvious barrel.
    • 42 Metascore
    • 50 Ann Hornaday
    Suburbicon
    A movie that possesses the stylized, lethal-Looney-Tunes slapstick we’ve come to associate with Coenesque humor, as well as the fiery, thinly disguised polemic of such past Clooney projects as “Good Night, and Good Luck.”
    • 94 Metascore
    • 100 Ann Hornaday
    Faces Places
    Faces Places is a film of sheer joy, its exuberance surpassed only by its tenderness and purity of purpose.
    • 75 Metascore
    • 63 Ann Hornaday
    Dina
    There are moments in Dina that invite viewers to wonder whether Santini and Sickles aren’t veering into voyeurism, such as when Dina presents Scott with a copy of “The Joy of Sex” and proceeds to have a conversation about masturbation and other matters.
    • 92 Metascore
    • 75 Ann Hornaday
    The Florida Project
    Dafoe delivers his finest performance in recent memory, bringing to levelheaded, unsanctimonious life a character who offers a glimmer of hope and caring within a world markedly short on both.
    • 48 Metascore
    • 63 Ann Hornaday
    The Mountain Between Us
    Helped by director Hany Abu-Assad and spectacular cinematography by Mandy Walker, who makes the most of the film’s British Columbia locations, Elba and Winslet generate chemistry that is convincing in direct proportion to the story’s outlandishness.
    • 49 Metascore
    • 50 Ann Hornaday
    Mark Felt: The Man Who Brought Down the White House
    As alternate history and a showcase for a fine Neeson characterization, “Mark Felt” offers an intriguing if incomplete view of a man who remains inscrutable, 40 years after the fact.
    • 71 Metascore
    • 88 Ann Hornaday
    Brad's Status
    Brad’s Status contains moments of delicate humor.
    • 73 Metascore
    • 75 Ann Hornaday
    Battle of the Sexes
    A warm, earnestly entertaining film.
    • 76 Metascore
    • 50 Ann Hornaday
    mother!
    Even Lawrence’s magnetic powers can’t keep Mother! from going off the rails, which at first occurs cumulatively, then in a mad rush during the film’s outlandish climax.
    • 82 Metascore
    • 88 Ann Hornaday
    Marjorie Prime
    As a sly chamber piece, it re­assures and unsettles in equal, exquisitely calibrated measure.
    • 64 Metascore
    • 75 Ann Hornaday
    Crown Heights
    As compelling as Warner’s story is, Crown Heights never quite takes hold cinematically. It’s a procedural whose central protagonist remains necessarily passive and something of a cipher, despite the wellsprings of emotion that Stanfield manages to tap simply by gazing balefully out a cell window.
    • 67 Metascore
    • 75 Ann Hornaday
    Patti Cake$
    Patti Cake$ winds up being a celebration of art, enterprise and self-invention that’s as tough as it is touching. At the risk of mixing metaphors, not to mention musical genres, it rocks.
    • 80 Metascore
    • 50 Ann Hornaday
    Good Time
    What starts out as an invigorating odyssey winds up becoming an enervating series of postures.
    • 78 Metascore
    • 50 Ann Hornaday
    Logan Lucky
    As lighthearted, late-summer escapism goes, Logan Lucky is an amusing if convoluted and undisciplined bagatelle. As a hotly anticipated comeback, it feels like a slightly dippy, ultimately disposable warm-up of a director whose brains, chops and judicious taste we need more than ever.
    • 79 Metascore
    • 100 Ann Hornaday
    Whose Streets?
    Although news reports presented police use of rubber bullets and tear gas as justifiable responses to increasingly volatile crowds, Whose Streets? offers a useful alternative view, with citizen journalists capturing what look like unprovoked attacks on demonstrators by law enforcement officers woefully unprepared or unwilling to de-escalate sensitive situations and engage.
Page:

Top Trailers

See all »
See all trailers »