For 2,266 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 3.5 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Illusionist
Lowest review score: 0 Gigli
Score distribution:
2266 movie reviews
    • 100 Metascore
    • 100 Ty Burr
    To see Au Hasard Balthazar is to understand the limits of religious literalism in movies -- the limits, even, of movies themselves. Bresson pares everything away until all that's left are the things we do and the hole left by the things we could have done but didn't.
    • 100 Metascore
    • 100 Ty Burr
    Boyhood is a stunt, an epic, a home video, and a benediction. It reminds us of what movies could be and — far more important — what life actually is.
    • 99 Metascore
    • 88 Ty Burr
    Why revisit Shoah 25 years after it was first released? Because it matters more a quarter century on, just as it will matter even more in a hundred years, and 200, and - if it and we survive - a thousand.
    • 99 Metascore
    • 100 Ty Burr
    In its quietly radical grace, it’s a cultural watershed — a work that dismantles all the ways our media view young black men and puts in their place a series of intimate truths. You walk out feeling dazed, more whole, a little cleaner.
    • 99 Metascore
    • 100 Ty Burr
    The results bear witness to a time when sacrifice was bleached of everything but itself.
    • 98 Metascore
    • 100 Ty Burr
    Moves like hot mercury, and it draws a viewer so thoroughly into its world that real life can seem thick and dull when the lights come up.
    • 97 Metascore
    • 100 Ty Burr
    Writer-director Cristian Mungiu confirms the Romanian cinema renaissance while creating a paradoxical marvel: a bleak tale of illegal abortion that powerfully affirms one's faith in people.
    • 97 Metascore
    • 100 Ty Burr
    The one aspect of the original Producers that still stuns is the roaring, over-the-top, in-your-face thereness of its two lead performances.
    • 96 Metascore
    • 100 Ty Burr
    Days of Being Wild shows Wong discovering his own cinematic language, and he's as astonished as we are.
    • 96 Metascore
    • 100 Ty Burr
    12 Years a Slave is to the “peculiar institution” what “Schindler’s List” was to the Holocaust: a work that, finally, asks a mainstream audience to confront the worst of what humanity can do to itself. If there’s no Oskar Schindler here, that’s partly the point.
    • 96 Metascore
    • 100 Ty Burr
    Manchester by the Sea is an experience worth having, not for the magnificence of its impact or the far-flung grandeur of its settings but for the way it illuminates with quiet, unyielding grace how you and I and our neighbors get by, and sometimes how we don’t.
    • 96 Metascore
    • 100 Ty Burr
    Is ''Dr. Strangelove" Kubrick's best movie? Along with ''Paths of Glory," absolutely.
    • 96 Metascore
    • 88 Ty Burr
    The movie’s an astonishingly detailed, visually painstaking state-of-the-art production that advances what the cinema can show us—even as the human story at its center feels a little thin after a while.
    • 96 Metascore
    • 100 Ty Burr
    Chaplin's sentimental politics and peerless comic invention dovetailed more perfectly in this film than in any other he made.
    • 95 Metascore
    • 100 Ty Burr
    Carol is a movie to drink in with eyes, ears, and sensibilities.
    • 95 Metascore
    • 100 Ty Burr
    On the level of craft, the movie's just absurdly enjoyable. Sorkin's dialogue dazzles; the photography is burnished and sleek; the editing confidently sorts out a complex narrative.
    • 95 Metascore
    • 100 Ty Burr
    Here are great swaths of Baldwin’s prose, read by Samuel L. Jackson in a vocal impersonation that is actually a rather brilliant piece of acting — he convinces you it’s the writer you’re hearing.
    • 95 Metascore
    • 100 Ty Burr
    The Battle of Algiers is a thinking person's action film in which there are winners -- but no heroes.
    • 95 Metascore
    • 100 Ty Burr
    It's a movie made with the same coolly fanatical attention to craft the lead character displays in her work. Bigelow is now recognized as one of our true filmmaking naturals.
    • 95 Metascore
    • 100 Ty Burr
    The best American film of the year to date.
    • 94 Metascore
    • 100 Ty Burr
    If the first two films belong with the greatest (if talkiest) movie romances of all time, the new film is richer, riskier, and more bleakly perceptive about what it takes for love to endure (or not) over the long haul.
    • 94 Metascore
    • 100 Ty Burr
    I emerged from the movie in a white-out haze of emotions, synapses overloaded, grateful beyond words to an actress who can convey so much with such subtlety of means.
    • 94 Metascore
    • 88 Ty Burr
    Taken as a whole, Dunkirk invites comparisons to the works of Kubrick and Spielberg, but it’s neither as scalding as “Full Metal Jacket” nor as clear-eyed, as aware of war’s terrible randomness, as “Saving Private Ryan.” Instead, a streak of honest sentiment, earned under the most hellish of circumstances, courses through this movie and provides it with spine and a soul.
    • 94 Metascore
    • 100 Ty Burr
    A life is not plot; plot is not life. By scrupulously sticking not just to the accuracies of Turner’s life as we know them but to the tiniest of details, the chipped mugs on kitchen tables, the pantaloons on a passing merchant, the spray of storm surf across the bow of a ship, Leigh wants us to truly see the world Turner moved through. Only by seeing that world can we see how he saw and painted it.
    • 94 Metascore
    • 88 Ty Burr
    It is a joy for audiences seeking entertainment, an ingenious work of craft for those paying close attention, and a wallop of feeling that’s still too rare coming from a cartoon.
    • tbd Metascore
    • 100 Ty Burr
    So clear-eyed and three-dimensional that it makes the recent ''Pearl Harbor'' look like a bunch of kids playing dress up. Aspects of the film have dated, but in the important things it's more mature than anything proposed lately by modern Hollywood.
    • 94 Metascore
    • 100 Ty Burr
    It's a performance (Giamatti's) so nuanced and so real in its everyday pain that it doesn't stand a chance of winning an Oscar. But it should.
    • 94 Metascore
    • 88 Ty Burr
    Yet what I felt when the lights came up at the end of this visionary, titanic, relentless experience was something different: a strange relief that it was, at last, over.
    • 94 Metascore
    • 88 Ty Burr
    Carlos moves like a greyhound out of the gate, fleet and assured and focused on the business at hand. It's a subtle, ultimately staggering portrayal of a bloody-minded ideologue who convinced only himself.
    • 94 Metascore
    • 100 Ty Burr
    What happens between two people? Only the chemistry that keeps us from stumbling through the chaos by ourselves. Is that an illusion, too? Amour says it doesn't much matter. There is no dignity in life except love.
    • 93 Metascore
    • 88 Ty Burr
    It’s the classic modern dynamic of lefty parent and tightly-wound yuppie spawn, but Toni Erdmann takes it out of sitcom territory and into something longer, richer, weirder, and ultimately a great deal more affecting.
    • 93 Metascore
    • 100 Ty Burr
    One of the reasons that Spotlight is so deeply, absurdly satisfying to this newspaper writer — is that Tom McCarthy’s movie doesn’t turn its journalists into heroes. It just lets them do their jobs, as tedious and critical as those are, with a realism that grips an audience almost in spite of itself.
    • 93 Metascore
    • 88 Ty Burr
    Fred Astaire and Ginger Rogers they ain’t. Stone’s singing voice is a soulful wisp of a thing. But this is the moment that convinced me the film’s writer-director, Damien Chazelle, knew exactly what he was doing. What his stars lack in training they make up for in relatability. They sing and dance just a little better than we would.
    • 93 Metascore
    • 88 Ty Burr
    A transporting cinematic experience with a churl at its center, and how you feel about the movie may depend on how you feel about the churl.
    • 93 Metascore
    • 88 Ty Burr
    As much as this tale of bent love runs in the ruts of its maker’s obsessions, it has an undertow that’s impossible to shake. [22 Nov. 2012]
    • 93 Metascore
    • 88 Ty Burr
    The film, dazzling and poignant and five years in the making, retells the ancient Indian epic "The Ramayana" from a gentle but insistent feminist perspective.
    • 92 Metascore
    • 100 Ty Burr
    The film that many consider the finest of its decade, Raging Bull, has aged well, and not just because it was filmed in black and white.
    • 92 Metascore
    • 88 Ty Burr
    Remains worth seeing as an achingly nostalgic farewell to youthful idealism, tinged with a kind of loving contempt.
    • 92 Metascore
    • 100 Ty Burr
    If Leviathan takes the Academy Award on the 22nd — and it’s considered the front-runner by some — it’ll be a win for great filmmaking and a loss for the Putin government.
    • 92 Metascore
    • 88 Ty Burr
    It’s when Toy Story 3 becomes a jailbreak movie that it comes into its own.
    • 92 Metascore
    • 100 Ty Burr
    Over and over in The Look of Silence, we hear people tell the filmmakers, “The past is past.” The wound is healed, they say, and if you don’t want trouble, don’t reopen it. The movie itself proves otherwise.
    • 91 Metascore
    • 100 Ty Burr
    It's worth stressing how deeply pleasurable Moolaad is to watch.
    • 91 Metascore
    • 100 Ty Burr
    All you really need to enjoy "Triplets" is a taste for the weird and the wonderful.
    • 91 Metascore
    • 100 Ty Burr
    For some of us, this constitutes a religious event.
    • 91 Metascore
    • 100 Ty Burr
    A subtle, often very funny, ultimately touching tragedy of royal manners and meaning.
    • 91 Metascore
    • 88 Ty Burr
    Stories We Tell is one of those movies you watch on a screen and replay in your head for days, moving between its many levels of inquiry and touched, always, by Polley’s compassion toward her relatives in particular and people in general.
    • 91 Metascore
    • 88 Ty Burr
    Those who’ve followed Panahi’s career over the decades will catch echoes of and references to his earlier movies, and at times Taxi is as much a tour of his filmography as it is of Tehran.
    • 91 Metascore
    • 88 Ty Burr
    Waltz With Bashir not only breathes but it howls - and sobs and curses and croons and, in the end, when sound proves useless in the face of calamity, falls into awful silence.
    • 91 Metascore
    • 100 Ty Burr
    The Coens also understand the stark immediacy of this tale, and they visualize it with brilliantly judged details.
    • 91 Metascore
    • 100 Ty Burr
    It’s about spycraft, but it goes to the source. If for no other reason, it deserves to be seen for arranging decades of events in the Middle East into a chronology that, to an outsider, makes dreadful sense.
    • 91 Metascore
    • 88 Ty Burr
    Ida
    The first three-quarters of Ida are as astonishing as anything you’ll see at the movies this year.
    • 90 Metascore
    • 88 Ty Burr
    Takahata and his animators balance aspects of nostalgia and the present day, urban modernity and rural timelessness, love and regret with a visual and aural sensitivity that draws a viewer in from the first frames.
    • 90 Metascore
    • 100 Ty Burr
    It's those noir bones that give this social-realist drama its punch, as if Humphrey Bogart had been recast as a 17-year-old girl and dropped into the poorest corner of America.
    • 90 Metascore
    • 100 Ty Burr
    Gorgeously stoic art film.
    • 90 Metascore
    • 100 Ty Burr
    Her
    It is a love story. Also a profoundly metaphysical meditation on what it means to be human. Also one of the more touchingly relevant movies to the ways we actually live and may soon live. Oh, and the year’s best film, or at least the one that may stick with you until its story line comes true.
    • 90 Metascore
    • 88 Ty Burr
    Pixar is so good at what it does that every other kiddie-entertainment purveyor -- including parent company Disney -- flounders in comparison.
    • 90 Metascore
    • 100 Ty Burr
    In short, This Is Not a Film is the world within an apartment, and it is quietly devastating.
    • 90 Metascore
    • 100 Ty Burr
    That rose in the desert, a sequel that improves in every way upon its beloved predecessor and a romance that slowly builds a fire from embers thought dead.
    • 90 Metascore
    • 88 Ty Burr
    Such smart, whiz-bang fun that you may not realize what it's about until you're safely home.
    • 90 Metascore
    • 100 Ty Burr
    The movie is pricelessly comic -- the Harvey/Joyce scenes catalog the couple's neuroses with glee -- but it just as often reaches for something richer.
    • 90 Metascore
    • 100 Ty Burr
    The Fits is what independent moviemaking should be and can be in this country. Like its heroine, it’s slight but it’s built to last.
    • 90 Metascore
    • 88 Ty Burr
    The movie is hard going, not least in the sense of powerlessness it leaves in an audience that knows exactly what will happen. And yet you come out feeling that the filmmakers have done the right thing by these people, and by this day.
    • 90 Metascore
    • 100 Ty Burr
    The shock, really, is how tender Mad Max: Fury Road ultimately becomes. The film just wraps that tenderness in one of the most epic action extravaganzas of recent years. It's enough to renew your faith in movies.
    • 90 Metascore
    • 100 Ty Burr
    As the Friedmans split apart like fissile neutrons, their story becomes five stories, none of which is remotely like the others.
    • 90 Metascore
    • 75 Ty Burr
    It’s a juggling act that Russell can’t sustain and doesn’t: The last 20 minutes feel aimless, and the movie doesn’t end so much as coast to a halt. And still you walk away giddy and full. American Hustle takes your money and makes you glad you were fleeced.
    • 90 Metascore
    • 100 Ty Burr
    What's most shocking about The Passenger 30 years later? Seeing Jack Nicholson at the lean, sardonic height of his youthful powers? Finding a Michelangelo Antonioni movie with an actual plot?
    • 90 Metascore
    • 100 Ty Burr
    Paterson the movie doesn’t mine the dross and drab of our everyday lives for gold — it says they already are gold, and all you have to do is look. “Say it! No ideas but in things.” See it.
    • 90 Metascore
    • 88 Ty Burr
    They're both tales of growing up in the shadow of Islamic fundamentalism, but Persepolis is everything "The Kite Runner" is not. It's a personal memoir rather than fiction, coolly observant instead of melodramatic, female rather than male in sensibility and sense of humor - it has a sense of humor.
    • 89 Metascore
    • 100 Ty Burr
    Longer on atmosphere and observation than on story, but you don't mind: Coppola maintains her quietly charged tone with a certainty that would be unbelievable in a second film if you didn't suspect genetics had a hand.
    • 89 Metascore
    • 88 Ty Burr
    A slowly flowering miracle: an epic of normal life.
    • 89 Metascore
    • 88 Ty Burr
    The Lives of Others has similarities to Francis Ford Coppola's 1974 classic "The Conversation" but with undercurrents that resound across an entire century of European political history.
    • 89 Metascore
    • 75 Ty Burr
    It's a perfect example of how far production design and editing WON'T take you when the story's not there.
    • 89 Metascore
    • 100 Ty Burr
    The sight is magical and heartbreaking in equal measure. Look, the movie says: Where so many would fall, a man walks on air.
    • 89 Metascore
    • 100 Ty Burr
    A comic put-on of awe-inspiring crudity and death-defying satire and by a long shot the funniest film of the year. It is "Jackass" with a brain and Mark Twain with full frontal male nudity.
    • 89 Metascore
    • 88 Ty Burr
    Elle may be the purest distillation of his worldview yet, and it’s a terrifying thrill.
    • 89 Metascore
    • 88 Ty Burr
    It’s a gentle epic, based on a 10th-century Japanese folk tale, that uses pencils, ink, and impressionistic washes of color to convey a glowing visual otherworld, one that stands in contrast both to Takahata’s earlier work and the hard-edged lines and bright tones of much anime.
    • 89 Metascore
    • 88 Ty Burr
    On the whole it’s daring and committed, and in Röhrig’s tremendously focused performance, it honors all the saints we’ll never know. And that’s worth any risk.
    • 89 Metascore
    • 100 Ty Burr
    This is a small, compassionate gem of a movie, one that’s rooted in details of people and place but that keeps opening up onto the universal.
    • 89 Metascore
    • 88 Ty Burr
    It is first and foremost a moral tale, and an overpowering one.
    • 89 Metascore
    • 88 Ty Burr
    Selma is at its very best when it gets into the nitty-gritty of the SCLC’s arrival in Selma amid colliding factions and forces.
    • 89 Metascore
    • 100 Ty Burr
    Michael Hazanavicius's love letter to classic cinema isn't perfect but it's close enough to make just about anyone who sees it ridiculously happy - and that includes children and grown-ups who have never come across a silent film.
    • 89 Metascore
    • 75 Ty Burr
    This is the art-film Carrey: repressed, lovesick, unshaven. Essentially he's doing the same intellectual sad sack played by John Cusack in "Malkovich" and Nicolas Cage in "Adaptation"
    • 89 Metascore
    • 100 Ty Burr
    A film noir? A backstage musical? A whodunit? A comedy? In truth, it's all of the above -- plus a kinky love story, an absorbing melodrama, and a mordantly jaded snapshot of postwar Paris -- and all of them are wonderful.
    • 89 Metascore
    • 100 Ty Burr
    Eloquent, bloody, and daringly simple.
    • 88 Metascore
    • 100 Ty Burr
    Once is the first rock musical that actually makes sense. People don't burst into song in this movie because the orchestra's swelling out of nowhere. The guy and the girl are working musicians -- or they'd like to be, if they could make a living at it -- and they're played by working musicians.
    • 88 Metascore
    • 100 Ty Burr
    The chance to watch a four-star classic the way it was meant to be seen -- fresh print, big screen -- is so rare as to be worth the trip.
    • 88 Metascore
    • 88 Ty Burr
    Richly provocative entertainment, as heady as a cocktail party with the Manhattan literati and as vaguely troubling as the morning after.
    • 88 Metascore
    • 88 Ty Burr
    In the tradition of ethnographic dramas from "Nanook of the North" to "The Fast Runner," Tulpan drops us in the middle of a godforsaken nowhere and marvels at the people who live there.
    • 88 Metascore
    • 100 Ty Burr
    At Sundance, Whiplash quickly picked up the nickname “Full Metal Juilliard” on the basis of scenes in which Andrew, plucked from a late-night practice session to be the orchestra’s drummer, is raked over the coals by his new mentor. Horrifying as they are, these sequences are dazzling exercises in total humiliation.
    • 88 Metascore
    • 100 Ty Burr
    It's the only film that exists of the Ghetto, and it's both revelatory and profoundly suspect.
    • 88 Metascore
    • 88 Ty Burr
    What does it add up to? What’s it all about, Wes? In a word: evanescence.
    • 88 Metascore
    • 75 Ty Burr
    If you don’t really understand women — or don’t even want to — it’s easier to just call them a mystery and let it go at that. For all the close-ups, that may be why Blue Is the Warmest Color never gets close enough.
    • 88 Metascore
    • 100 Ty Burr
    Citzenfour is prosaic in its presentation and profoundly chilling in its details, and if you think Snowden is a traitor, you should probably see it. If you think he’s a hero, you should probably see it. If you haven’t made up your mind — well, you get the idea.
    • 88 Metascore
    • 88 Ty Burr
    With a tranquil fearlessness, it goes beyond the death of memory, to see what might be found in the unexplored country beyond. The answer is both frightening and comforting: More love. Unspecified love. Universal love.
    • 88 Metascore
    • 88 Ty Burr
    Formally, the movie's a lasting pleasure: Reed's incisive direction; Greene's easy yet weighted dialogue; the farseeing deep-focus photography of Georges Perinal; Vincent Korda's luxuriant sets.
    • 88 Metascore
    • 100 Ty Burr
    The miracle is that 'The Lord of the Rings: The Two Towers is better: tighter, smarter, funnier.
    • 88 Metascore
    • 63 Ty Burr
    The movie isn't badly done, just overdone - a cozy art-house crowd-pleaser coasting on the expectations of its genre.
    • 88 Metascore
    • 88 Ty Burr
    The dialogue is terse and funny while hinting at much larger matters, such as the way poverty can be handed from generation to generation like a bad gene or a disease.
    • 88 Metascore
    • 100 Ty Burr
    Up
    On the most basic level the new film is pure vaudeville: a loopy flyaway fantasy that's hysterically funny if only to keep the darkness at bay.
    • 88 Metascore
    • 88 Ty Burr
    Wake in Fright is a monster movie, and the monster is us.

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