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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    • 60 Metascore
    • 40 Ernest Hardy
    Signs & Wonders
    Less would have been more, and this film is sabotaged by its maker's unchecked pretension.
    • 69 Metascore
    • 30 Ernest Hardy
    25th Hour
    Just about the only good thing you can say about Spike Lee's pointless, didactic The 25th Hour is that it's filled with strong performances, albeit of stock characters.
    • 69 Metascore
    • 90 Ernest Hardy
    Kinyarwanda
    Cast with both professional and novice actors (which results in uneven performances), the beautifully shot film is filled with exquisite moments.
    • 68 Metascore
    • 40 Ernest Hardy
    The War Zone
    Wrought with pretension -- and a blind eye to its own exploitation.
    • 68 Metascore
    • 80 Ernest Hardy
    Burnt Money
    Those who hang in for the long haul are rewarded with a sexy, moving love story.
    • 61 Metascore
    • 70 Ernest Hardy
    Biandan, guniang
    Xiaoshuai isn't really interested in glamorizing or even exploring the gangster lifestyle; nor is he interested in conventional dramatic arcs.
    • 68 Metascore
    • 70 Ernest Hardy
    Family Fundamentals
    It's potentially strong material, but the film is so determined not to demonize the conservatives that it winds up being an inadvertent profile in the banality of bigotry.
    • 68 Metascore
    • 70 Ernest Hardy
    The King (2012)
    Beautifully shot, the film is unapologetically a crowd-pleaser whose gentleness of tone flows from its subject.
    • 68 Metascore
    • 90 Ernest Hardy
    Office Space
    Sure to become a classic; it taps into the fury of being a drone with a deeply knowing precision.
    • Film.com
    • 68 Metascore
    • 70 Ernest Hardy
    A Civil Action
    A well-chewed gumbo of every lawyer flick you’ve ever seen.
    • 68 Metascore
    • 80 Ernest Hardy
    Women Without Men
    Neshat employs dialogue that is often didactic, but that weakness is forgiven in the face of stellar acting from the ensemble and gorgeously composed and shot images.
    • 68 Metascore
    • 90 Ernest Hardy
    Honeydripper
    Honeydripper is classic Sayles cinema: an insightful sketch of assorted common folk whose criss-crossing dreams and agendas unfold against larger, more powerful (and sometimes crushing) sociopolitical and cultural forces.
    • 68 Metascore
    • 50 Ernest Hardy
    Notting Hill
    It has to be noted that the use of music in this film is the worse in recent memory: maudlin, syrupy, and overwrought.
    • Film.com
    • 68 Metascore
    • 90 Ernest Hardy
    Ghost Dog: The Way of the Samurai
    Laced with brilliantly knotted ideas on race, masculinity and cults of violence.
    • 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).
    • 68 Metascore
    • 70 Ernest Hardy
    Awesome; I Fuckin' Shot That!
    The movie starts to drag near the end and feels longer than its 90 minutes - but that's cool. It's a love letter to the faithful in the first place.
    • 68 Metascore
    • 80 Ernest Hardy
    Come Undone
    A melancholy valentine to broken hearts and lost innocence.
    • 68 Metascore
    • 80 Ernest Hardy
    The New Black
    What emerges is an illuminating look at the ways race, specifically blackness, has been cynically portrayed by the mainstream media, rightwing politicians and religious leaders, and even some white queer activists.
    • 67 Metascore
    • 90 Ernest Hardy
    American Promise
    The film ends on up notes, but its strength is that it's not really a feel-good movie, instead shining a light on both how far we have come in terms of race in America and how very far we still have to go.
    • 67 Metascore
    • 80 Ernest Hardy
    Been Rich All My Life
    Utterly captivating.
    • 67 Metascore
    • 90 Ernest Hardy
    Life and Debt
    Black's cool-headed but blistering indictment of globalization and the racist international economic policies that have shoved that country into crushing poverty.
    • 67 Metascore
    • 60 Ernest Hardy
    Guinevere
    A good, though unremarkable, film.
    • 67 Metascore
    • 80 Ernest Hardy
    Lock, Stock and Two Smoking Barrels
    [Ritchie] cranks up the laughs and tension with equal aplomb, throwing wrenches in the plot so that the audience has no idea what to expect next -- and that's part of the film's thrill.
    • Film.com
    • 67 Metascore
    • 50 Ernest Hardy
    Frequency
    Disappointingly dumb.
    • 67 Metascore
    • 50 Ernest Hardy
    Rock School
    You root for the kids, who are utterly captivating, but Green is another story. His shtick -- a combo of insufferable stage-parent and unbearable rock geek -- is exhausting.
    • 66 Metascore
    • 70 Ernest Hardy
    The Take
    This film puts a pained human face on the cost of the corporate status quo.
    • 66 Metascore
    • 50 Ernest Hardy
    On the Outs
    Well-meaning but mediocre.
    • 66 Metascore
    • 60 Ernest Hardy
    La Nouvelle Ève
    Corsini's insight into the psyche of this contemporary woman doesn't have much of a point because it tells us nothing new.
    • 66 Metascore
    • 80 Ernest Hardy
    Maelstrom
    Dark, wickedly funny tale.
    • 66 Metascore
    • 90 Ernest Hardy
    Genius on Hold
    One marvel of the film is how it conveys so much information so quickly, and with such accessibility.
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