Ernest Hardy

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Film.com, L.A. Weekly, Village Voice
For 601 reviews, this critic has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 7.7 points lower than other critics. (0-100 point scale)

Ernest Hardy's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Vanishing Pearls: The Oystermen of Pointe a la Hache
Lowest review score: 0 3000 Miles to Graceland
Score distribution:
  1. Positive: 287 out of 601
  2. Mixed: 199 out of 601
  3. Negative: 115 out of 601
601 movie reviews
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    • 59 Metascore
    • 40 Ernest Hardy
    The Magician
    The viewer is meant to chuckle at the escalating violence-ringed absurdities (the kidnapping of a bafflingly passive drug dealer who winds up becoming a road-trip buddy, for example) and at Ray's brutish philosophies, but the chuckles are few. Though the film starts out modestly amusing, it very, very quickly lists into tedium.
    • tbd Metascore
    • 60 Ernest Hardy
    Love Thy Nature
    Though the heavy-handed score is emotionally manipulative, Rokab alternates between hopeful and grim prognoses, mercifully providing a measure of hope and possibility that many films of this ilk do not.
    • 49 Metascore
    • 50 Ernest Hardy
    Sold
    All the characters are broadly sketched, though well acted. Beyond that, the innate tension of the subject matter — and the shamelessly manipulated emotions — carries the film to its uplifting ending.
    • 58 Metascore
    • 40 Ernest Hardy
    Heneral Luna
    At a minimum, the film might inspire some people to hit up Google for a crash course on this historical narrative.
    • tbd Metascore
    • 60 Ernest Hardy
    Forever
    The film twists tension in the viewer's gut as the clock ticks toward a day of reckoning. But the script could be tougher-minded.
    • tbd Metascore
    • 60 Ernest Hardy
    My Voice, My Life
    Director Ruby Yang doesn't even try to upend the clichés that practically define the kind of inspirational documentary she's made about art transforming the lives of at-risk and disabled students. She embraces them while pushing the film toward an eye-misting ending you'll see coming from the opening moments.
    • 38 Metascore
    • 40 Ernest Hardy
    The Park Bench
    The script plays like something by an English major overstuffed with knowledge of lit but whose real-life experience is drawn largely from movies -- and whose simplistic views on race and class are straight out of the white liberal's "But I mean well..." handbook.
    • 68 Metascore
    • 50 Ernest Hardy
    People Places Things
    People Places Things crackles to life whenever the camera turns to one of Will's students, Kat (The Daily Show's Jessica Williams), and her professor mother, Diane (Regina Hall).
    • 45 Metascore
    • 40 Ernest Hardy
    Preggoland
    There's satiric comedy to be mined from the conflicting messages society still sends about pregnancy, motherhood, and women's worth, but the script isn't smart enough to explore them.
    • 53 Metascore
    • 50 Ernest Hardy
    Revolution
    Revolution is educational, but its shortcomings are glaring.
    • tbd Metascore
    • 60 Ernest Hardy
    Sword of Vengeance
    The film hits its mark of being a popcorn action flick just fine.
    • tbd Metascore
    • 50 Ernest Hardy
    The Business of Disease
    The brisk, informative film wants to press the urgency of this perfect storm of capitalistic opportunism but is weakened by a frequently overwrought score and cheap graphics that often give Business something of a histrionic undertone.
    • 72 Metascore
    • 50 Ernest Hardy
    The Great Invisible
    Unfortunately, given both its content and the media's collective failure to fully report the (ongoing) story, the film only intermittently has a pulse.
    • tbd Metascore
    • 50 Ernest Hardy
    Lakay
    There's an off-putting self-absorption in [Tirf's] self-examination-slash-ode-to-Haiti, and it weakens the whole project.
    • 65 Metascore
    • 60 Ernest Hardy
    The Good Lie
    Despite its weighty material and some moving scenes (much of the Sudanese cast are survivors of the war), this aggressive crowd-pleaser is slighter than its subject matter deserves.
    • 39 Metascore
    • 50 Ernest Hardy
    The Damned
    It's all well acted and expertly crafted — quick edits that play mind and visual games with the viewer, music that heightens tension, some cool special effects — but most of the victims are people you want to slap even before their secrets are spilled.
    • 41 Metascore
    • 60 Ernest Hardy
    Found
    Writer-director Scott Schirmer eschews the ironic approach, thankfully, and instead works to pull genuine tension from his material. He does that quite well, and any unintentional laughs (or eye rolls) are icing.
    • tbd Metascore
    • 50 Ernest Hardy
    K Missing Kings
    The film looks great; the animation is detailed, fluid in action and meticulously designed, and the action sequences are meticulously mapped out. But K Missing Kings is really for diehards who have not only embraced the series but also the handful of manga it spawned.
    • 51 Metascore
    • 50 Ernest Hardy
    Trust Me
    The film isn't as biting as The Player or Swimming with Sharks, and neither Howard's struggles nor Lydia's mystery is a match for the electricity of the supporting actresses in their brief roles.
    • tbd Metascore
    • 50 Ernest Hardy
    Bad Country
    Despite the shakiness of their collective accents, the cast goes through the paces of this tense, testosterone-driven shoot-'em-up with gusto.
    • tbd Metascore
    • 40 Ernest Hardy
    Dancing on a Dry Salt Lake
    The cast (which includes familiar character actors like Nicolas Coster and David Leisure) is wildly uneven, talent-wise, and there's a stiltedness to the film's earnestness, but its sincerity is palpable.
    • tbd Metascore
    • 40 Ernest Hardy
    Two: The Story of Roman & Nyro
    A vanity project riding the waves of a socio-political moment, Two confirms just as many stereotypes as it attempts to dismantle.
    • 71 Metascore
    • 40 Ernest Hardy
    Blood Brother
    There are undoubtedly several moving moments in the film, and the kids are gorgeous and heartbreaking, but none of that is strong enough to balance Braat's galling and enabled narcissism, which pervades the film.
    • 58 Metascore
    • 50 Ernest Hardy
    Escape from Tomorrow
    While Escape is filled with inspired touches... Moore lacks the off-kilter psychological nuances of Lynch, as well as the go-for-broke storytelling skills and visual élan. It doesn't help that the cast is largely competent at best.
    • 34 Metascore
    • 40 Ernest Hardy
    Baggage Claim
    There are a handful of laughs, but nothing to balance the onslaught of clichés.
    • 48 Metascore
    • 40 Ernest Hardy
    The Muslims Are Coming!
    One part stand-up comedy concert film (think Kings of Comedy) to two parts social outreach activism, documentary The Muslims Are Coming! works somewhat better as the latter than the former.
    • 28 Metascore
    • 50 Ernest Hardy
    The Colony
    The Colony has modest rewards: It's decently acted, delivers some well-executed jolts, doesn't insult the viewer's intelligence, and is mercifully free of ironic distance.
    • 55 Metascore
    • 40 Ernest Hardy
    Things Never Said
    To be fair, the cast is largely good, given the material.
    • tbd Metascore
    • 50 Ernest Hardy
    TV Man: The Search for the Last Independent Dealer
    [Kosareff] backburners what's most fascinating (stories of former titans of the industry; segments discussing how shifting social mores impacted said industry, the key roles of women in the factories) and squanders a chance to discuss the larger implications.
    • 40 Metascore
    • 60 Ernest Hardy
    Dark Tourist
    Cudlitz gives a haunted performance as a weathered, misogynistic, homophobic, blue-collar man roiling with demons, and Griffith can break your heart as a good woman staggering under the weight of life.
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