For 1,947 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 5.4 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Bratz
Score distribution:
1,947 movie reviews
    • 72 Metascore
    • 50 Ty Burr
    A structural mess that turns contrived just when it should be hitting home.
    • 56 Metascore
    • 50 Ty Burr
    Most useful and enlightening as a historical tour through the major crises of the Kennedy administration.
    • 54 Metascore
    • 50 Ty Burr
    The chief culprits are Townsend's TV-movie characterizations and a very muddled message.
    • 47 Metascore
    • 50 Ty Burr
    Disappointing not for what it is but what it could have been.
    • 57 Metascore
    • 50 Ty Burr
    For all its unforgivable blandness, "High School Musical" opens young audiences to the charms of this most transporting of movie genres.
    • 20 Metascore
    • 50 Ty Burr
    Ultimately, the problem with An American Carol is the problem with far too much political discourse in this country, left or right: It highlights the worst excesses of the opposition for the sole purpose of discrediting the vast middle.
    • 57 Metascore
    • 50 Ty Burr
    The problem with Flash of Genius isn't that the subject is dull but that the movie is.
    • 40 Metascore
    • 50 Ty Burr
    Something has been lost in the translation, and it's not just the script.
    • 51 Metascore
    • 50 Ty Burr
    Hotel for Dogs is agreeable Saturday afternoon multiplex piffle - friendly, formulaic, completely harmless.
    • 29 Metascore
    • 50 Ty Burr
    You've seen New in Town before, and you've seen it done better. Still, it's a sweet-hearted bit of anemia, pleasant and obvious, and there are a few honest laughs to it.
    • 49 Metascore
    • 50 Ty Burr
    The result is a state-of-the-art multiplex three-ring circus whose special effects stagger the senses and play like a video game, whose human drama aims for the cosmic and lands waist-deep in the Big Silly.
    • 55 Metascore
    • 50 Ty Burr
    Breezily enjoyable for about 10 minutes, until you realize the entire movie is going to be pitched at the same exuberantly manic pace. It's like being trapped in an elevator with a performing poodle that doesn't know when to quit.
    • 72 Metascore
    • 50 Ty Burr
    12
    The new film's not only almost double the length of the original, it's four times as ambitious - a sprawling, surrealist, ultimately disturbing portrait of a society lurching uncertainly toward democracy. What's really on trial in this movie? Just the Russian soul.
    • 38 Metascore
    • 50 Ty Burr
    Gigantic plays like a Sundance movie with half the nouns removed; fetchingly cryptic for a while, it's ultimately just obscure.
    • 48 Metascore
    • 50 Ty Burr
    The movie itself is petrified meatloaf. It's a body-transference comedy in the vein of "Big," "Freaky Friday," and other candidates for Turner Classics.
    • 54 Metascore
    • 50 Ty Burr
    Writer Peter Harness has based his screenplay on his own childhood experiences, but personal doesn't necessarily translate to fresh.
    • 34 Metascore
    • 50 Ty Burr
    Ghosts is better-than-average McConaughey swill, but not by much - that's its pleasure and its curse.
    • 55 Metascore
    • 50 Ty Burr
    An overly muted and cautious piece of work. Watching it is like seeing a man ease out onto the limb of a tree, constantly testing its strength.
    • 32 Metascore
    • 50 Ty Burr
    Panettiere, I’m sad to report, is a dud as the title character, a supposed wild thang who never rises above the level of runty, obnoxious mall chick, down to the roll-on tan.
    • 51 Metascore
    • 50 Ty Burr
    A pall of disaster, in fact, hangs over everyone in this shapeless, hankie-wringing adaptation of the best-selling Jodi Picoult novel.
    • 60 Metascore
    • 50 Ty Burr
    What’s best about Funny People, actually, is Sandler, who takes the weird, resentful anger that has always coursed beneath his comedy and puts it right on the surface.
    • 70 Metascore
    • 50 Ty Burr
    The parts, in other words, promise a brilliant whole. So why is this movie one of the signal disappointments of the year? You have to go back to the basics: Public Enemies has everything going for it except a reason and a script.
    • 58 Metascore
    • 50 Ty Burr
    iIf you can ignore a ridiculously overbearing soundtrack - a big if - the film's a pleasant bauble. Still, those coming in cold may be forgiven for thinking they've wandered into "Atonement" remade as a farce.
    • 45 Metascore
    • 50 Ty Burr
    Whatever Works is very minor Woody, querulous, fitfully funny, and removed from any shared reality.
    • 33 Metascore
    • 50 Ty Burr
    One of those sticky dramas.
    • 33 Metascore
    • 50 Ty Burr
    As such things go, it’s not bad: slick and proficient, The Stepfather 2.0 gets the adrenaline pumping, but the original has the brains.
    • 62 Metascore
    • 50 Ty Burr
    A sweet, splattery bit of in-jokery; if it’s not actually a good movie, on some level you have to admire the chutzpah of a film set in 1850s Ireland but shot on Staten Island.
    • 45 Metascore
    • 50 Ty Burr
    A reasonably watchable sci-fi B movie, a case of a good director and some intriguing ideas struggling to overcome formula plotting, limp dialogue, and a serious case of the sillies.
    • 44 Metascore
    • 50 Ty Burr
    Where the first film’s director, Catherine Hardwicke, plugged into Meyer’s vision of supernatural teenage lust with abandon, Chris Weitz is stuck with a sequel that’s a morning-after mope-fest.
    • 58 Metascore
    • 50 Ty Burr
    With The Invention of Lying, the British comic actor Ricky Gervais has come up with a wickedly funny idea for a movie - and then purged the wickedness right out of it.
    • 53 Metascore
    • 50 Ty Burr
    Where Burton and his screenwriter, Linda Woolverton, go astray is turning this new 3-D version - a sequel, really, about a grown Alice returning to the psychic dreamworld of her childhood - into a fantasy adventure that looks like every other CGI epic out there.
    • 53 Metascore
    • 50 Ty Burr
    The Book of Eli is “The Road’’ with twice the plot, four times the ammunition, and half the brains; it’ll probably make 10 times the money.
    • 43 Metascore
    • 50 Ty Burr
    Reilly gives it his all, and he’s both very enjoyable and about as scary as a stubbed toe.
    • 67 Metascore
    • 50 Ty Burr
    Essential viewing for builders, graphic designers, visual artists, and other optically inclined folk, but it’s a bit of a slog for the uninitiated.
    • 24 Metascore
    • 50 Ty Burr
    The result isn’t art but it is an improvement: a scurrilous, lowdown, sub-Tarantino action comedy that, unlike the original, doesn’t make you want to claw your eyes out. How’s that for praise?
    • 54 Metascore
    • 50 Ty Burr
    You can’t make this stuff up, but you can botch the telling of it, and that’s what sinks this satiric drama.
    • 49 Metascore
    • 50 Ty Burr
    If Ten9Eight brings NFTE to the attention of you, your child, or your school administrator, that’s probably all that matters.
    • 51 Metascore
    • 50 Ty Burr
    There are good performances and fleeting moments of exquisite moviemaking, but the experience as a whole is an evolutionary dead end.
    • 43 Metascore
    • 50 Ty Burr
    An effective, no-frills gruel-a-thon if that’s your cup of Swiss Miss, and it explores such burning questions as: What happens if you’re dumb enough to leave your bare hand on a metal safety bar overnight?
    • 43 Metascore
    • 50 Ty Burr
    What’s missing is the assurance of tone that a Lumet would provide.
    • 45 Metascore
    • 50 Ty Burr
    The filmmaker’s uncertainty shows itself in drably functional camerawork and an over-reliance on Christophe Beck’s tasteful piano-and-violin score.
    • 55 Metascore
    • 50 Ty Burr
    The man inside that legend has yet to come into focus 40 years on. Morrison wanted the world and he wanted it now, and he got it. What When You’re Strange can’t admit is that he had no idea what to do next.
    • 55 Metascore
    • 50 Ty Burr
    After a long run of baroquely plotted crime dramas like "Layer Cake'' and "Lock, Stock and Two Smoking Barrels,'' it's a little depressing to come across a vigilante drama whose sole twist is its protagonist's advanced age.
    • 50 Metascore
    • 50 Ty Burr
    Stitched together from so many other movies that it plays like an attack of multiple déjà vu. Stray bits of “Star Wars,’’ “Pirates of the Caribbean,’’ “Crouching Tiger, Hidden Dragon,’’ and “Robin Hood’’ pass by like flotsam, and the overwhelming tone is good-natured but alarmingly generic.
    • 43 Metascore
    • 50 Ty Burr
    All thing considered, MacGruber’ is a lot better than it should be. That still doesn’t mean it’s all that great.
    • 51 Metascore
    • 50 Ty Burr
    Even the portrayal of the Hasidic community comes to feel like window-dressing, welcome for its exoticism but never truly understood.
    • 65 Metascore
    • 50 Ty Burr
    In its refusal to connect the dots, Wild Grass is playful unto tediousness, and between Azéma's overly cutesy performance -- all Harpo Marx hair-frizz and popped eyes -- and Mark Snow's painfully (purposefully?) banal lounge-jazz score, the movie functions as a theoretical irritant rather than a film.
    • 30 Metascore
    • 50 Ty Burr
    Stands to delight small children while probably causing their parents' heads to cave in.
    • 56 Metascore
    • 50 Ty Burr
    Everyone in the film is an uninteresting grotesque.
    • 48 Metascore
    • 50 Ty Burr
    Ends with a curious whimper instead of the bang it has been pointing toward; the filmmaker's reverence for his heroine seems to bind his hands.
    • 63 Metascore
    • 50 Ty Burr
    Well intentioned on every level, the movie is successful only on some, and it falls flat when trying to visualize the innards of the poem itself.
    • 39 Metascore
    • 50 Ty Burr
    Life as We Know It gives bland and predictable a good name.
    • 60 Metascore
    • 50 Ty Burr
    RED
    "The Expendables" trotted out the concept this summer, and it was good dumb fun - a nudge-nudge wink-wink '80s movie on steroids. RED is more self-consciously wacky, more stridently in your face, and more disappointing.
    • 50 Metascore
    • 50 Ty Burr
    All three actors come at this gloomy, borderline-preposterous tale from different directions; that they meet up at all - and they do - is a tribute to sincerity and craft.
    • 69 Metascore
    • 50 Ty Burr
    Fair Game takes one of the more shameful sub-chapters in modern US politics - and turns it into a strident, condescending Hollywood melodrama.
    • 68 Metascore
    • 50 Ty Burr
    Real satire must be savage, and Four Lions, for all its daring, finally doesn't dare enough.
    • 52 Metascore
    • 50 Ty Burr
    Haggis finally finds the movie's groove late in the game, and the escape sequence itself is hectic, suspenseful, and enjoyably ridiculous.
    • 43 Metascore
    • 50 Ty Burr
    A comparison to Baz Luhrmann is useful: Where Taymor self-consciously aestheticizes pop vulgarity, a movie like "Moulin Rouge!" just dives right in.
    • 51 Metascore
    • 50 Ty Burr
    Glib, fast-paced entertainment that barely leaves a mark - which, given the subject, is just plain wrong.
    • 39 Metascore
    • 50 Ty Burr
    It's off-putting, rude, misshapen, and more often than not hysterically funny. The second half, sadly, is an ear-splitting train wreck.
    • 56 Metascore
    • 50 Ty Burr
    The only reason to see Leaving - and it's not a bad reason at all - is for the sight of Kristin Scott Thomas in a rare happy mood.
    • 42 Metascore
    • 50 Ty Burr
    A muscular Australian B-movie down to the thin characters and boilerplate dialogue.
    • 36 Metascore
    • 50 Ty Burr
    A well-made, reasonably diverting night at the multiplex that will seem overly familiar to everyone except teenage girls.
    • 63 Metascore
    • 50 Ty Burr
    Formulaic enough to suggest that franchise would be B level at best, a TV series at worst. But it's also just good enough to make you want to watch it, anyway.
    • 47 Metascore
    • 50 Ty Burr
    Monogamy sets up a nifty idea that it doesn't follow through.
    • 33 Metascore
    • 50 Ty Burr
    It's a surprisingly joyless mash-up of every bit of fanboy flotsam floating around in its maker's cranium.
    • 66 Metascore
    • 50 Ty Burr
    Well-mounted and expertly played, Winter in Wartime is a class act that lacks only focus and originality to raise it above the ordinary.
    • 55 Metascore
    • 50 Ty Burr
    An important film, on an important subject, that has had the life beaten out of it by Robert Redford, a man who should know better.
    • 50 Metascore
    • 50 Ty Burr
    That Prom plays as pleasantly and inoffensively as it does is due to the performances, particularly McDonell as the rebellious Jesse.
    • 59 Metascore
    • 50 Ty Burr
    The carnage is cartoonishly graphic, but the onlookers watching through binoculars from a nearby sandy bluff are impressed.
    • 70 Metascore
    • 50 Ty Burr
    For all the talk, there's not a lot of chess here, and the game remains stubbornly on the level of metaphor. You don't feel rooked, exactly, but by movie's end you're more than ready for the check.
    • 65 Metascore
    • 50 Ty Burr
    A comparison to Carver's original story - called "Why Don't You Dance?," easily Googleable, and all of 1,600 words long - is instructive.
    • 45 Metascore
    • 50 Ty Burr
    To press the point, there is absolutely no need for a fourth Pirates of the Caribbean.
    • 44 Metascore
    • 50 Ty Burr
    Where Mia and the Migoo triumphs is in the art department alone, with rich brown charcoal outlines, majestic pastel washes that give depth to the landscapes, and riotous colors that are more vivid than the story line.
    • 30 Metascore
    • 50 Ty Burr
    The bottom line: Any movie that gives Jonathan Winters work is doing something right.
    • 43 Metascore
    • 50 Ty Burr
    Machine Gun Preacher is crude and ham-handed from its ridiculous title on down, but it still gets to some interesting places.
    • 64 Metascore
    • 50 Ty Burr
    The Way is a good, cheap vacation. At times, you wonder if Estevez isn't creating a cracked therapeutic remake of "The Wizard of Oz.'' He's got the nerve and the heart, all right. I'm less sure about the brains.
    • 49 Metascore
    • 50 Ty Burr
    The Mighty Macs sticks so closely to the underdog-sports-movie playbook that it's practically generic.
    • 56 Metascore
    • 50 Ty Burr
    The Rum Diary has been retroactively Hunter S. Thompson-ized. And not for the better.
    • 80 Metascore
    • 50 Ty Burr
    Watching Melancholia is like being stuck next to a brilliant depressive at a dinner party. The food is exquisite, the conversation scintillating, and the longer you sit there the more trapped you feel in another man's all-encompassing gloom.
    • 50 Metascore
    • 50 Ty Burr
    Little kids, of course, will swallow it whole without thinking twice.
    • 39 Metascore
    • 50 Ty Burr
    The Sitter pushes the envelope with such sloppy gusto that you have to give in occasionally, and its comic timing finds its rhythm about every fifth joke.
    • 48 Metascore
    • 50 Ty Burr
    It's an enjoyably demented meta-finale, the rivals showing what they could do if they ever bothered to actually do it.
    • 58 Metascore
    • 50 Ty Burr
    A sweet-natured, terribly unthreatening drama about redemption and renewal, and it may matter more to the man who made it than the audiences who see it.
    • 68 Metascore
    • 50 Ty Burr
    As documentaries go, it's an able introduction that doesn't make its subject nearly as relevant to our current discontents as it could.
    • 56 Metascore
    • 50 Ty Burr
    Like Jolie's public persona, Blood and Honey is both strong and headstrong, equally invested in grit and glamour with a hazy understanding of the line separating the two.
    • 44 Metascore
    • 50 Ty Burr
    Hot gospel singing and earnest family squabbles are all that distinguish Joyful Noise.
    • 55 Metascore
    • 50 Ty Burr
    What it is is watchable, a thoroughly professional piece of Great Man hackwork that lacks the invention and spirit of its obvious model, "Shakespeare in Love.''
    • 37 Metascore
    • 50 Ty Burr
    W.E., her second effort after 2008's "Filth and Wisdom,'' tries awfully hard. In the end it tries our patience.
    • 70 Metascore
    • 50 Ty Burr
    Something to see and little to remember, an acrid character study undone by narrative implausibilities and its own lack of purpose.
    • 53 Metascore
    • 50 Ty Burr
    Mostly, though, Being Flynn is memorable for the sight of a once-great actor rousing himself to a performance the movie itself isn't prepared to handle.
    • 46 Metascore
    • 50 Ty Burr
    Just a limp, jokey family film that wants to have its fairy tale magic and its hip irony, too.
    • 60 Metascore
    • 50 Ty Burr
    The movie never fully clicks.
    • 48 Metascore
    • 50 Ty Burr
    It does give believers and those tottering on the edge something to chew on, and it steadfastly refuses to demonize everybody else.
    • 43 Metascore
    • 50 Ty Burr
    It can't be easy to turn one of the most stirring human rights dramas of the past quarter century into stultifying screen pageantry, but director Luc Besson and writer Rebecca Frayn have managed the trick with The Lady.
    • 62 Metascore
    • 50 Ty Burr
    It's predictable fluff, sometimes pleasantly so, at others times irritatingly.
    • 50 Metascore
    • 50 Ty Burr
    Both provocative and muddled, the film's a moody, passive-aggressive tract that's buoyed by superior performances and sunk by its own uncertainties. An alternate title might be "The Joylessness of Sex."
    • 63 Metascore
    • 50 Ty Burr
    The Hunter becomes turgid with corporate conspiracies, hired assassins, and offscreen tragedies, and the appealing leanness of the early scenes gets lost.
    • 63 Metascore
    • 50 Ty Burr
    The first Guy Maddin movie that feels as if it got only halfway out of the director's head and onto the screen.
    • 65 Metascore
    • 50 Ty Burr
    Watching Prometheus is like opening a deluxe gift box from Tiffany's to find a mug from the dollar store.
    • 42 Metascore
    • 50 Ty Burr
    Robert Pattinson isn't all that bad in Bel Ami. He just isn't right.
    • 53 Metascore
    • 50 Ty Burr
    The problem with Hysteria is that it keeps patting itself and us on the back for knowing better.
    • 49 Metascore
    • 50 Ty Burr
    A well-intentioned indie that tries to be a "real" version of a Hollywood romantic comedy and ends up feeling more ersatz than ever.
    • 59 Metascore
    • 50 Ty Burr
    Carell's performance is enjoyable but safe, and while he and Knightley play well enough together, there's no genuine chemistry - no zap to convince us these two deserve to be the last lovers on Earth.
    • 49 Metascore
    • 50 Ty Burr
    People Like Us is neither optimal nor prime.
    • 57 Metascore
    • 50 Ty Burr
    Trishna should move the soul and engage the tear-ducts, yet it passes by as distant as it is lovely. And the blame must fall on the movie's star, Freida Pinto.
    • 43 Metascore
    • 50 Ty Burr
    The only laugh to be had in Total Recall, a ripsnorting sci-fi action extravaganza that starts well and works its way down to average, is in the opening credits, where we learn that the movie's primary production company is called Original Film. Really?
    • 50 Metascore
    • 50 Ty Burr
    It's just another happily idiotic Will Ferrell comedy, ably directed by Jay Roach ("Meet the Parents," "Dinner for Schmucks") and tossing its bawdy jokes at the side of the barn.
    • 47 Metascore
    • 50 Ty Burr
    It's the sort of thing you'll either find enchanting or an excellent reason to reach for the Scotch.
    • 72 Metascore
    • 50 Ty Burr
    ParaNorman is supposedly for kids, but it's really aimed at their snarky older brothers, and it illustrates the limits of the new family creepshows.
    • 50 Metascore
    • 50 Ty Burr
    Of the two French films opening in the Boston area today - "Beloved" is the other - Little White Lies is the less ambitious, more watchable, and ultimately more annoying.
    • 42 Metascore
    • 50 Ty Burr
    The issue is contentious, messy, prone to wishful thinking. Some see a corporate plot to privatize schools. Others see a last chance to save them. Won't Back Down is on the latter side, obviously, and it has the boilerplate urgency of a TV movie that has been blessed with a high-end cast.
    • 51 Metascore
    • 50 Ty Burr
    Sensitively written, nicely shot, expertly acted, and intelligently ambiguous, Nobody Walks still manages to send you out with a shrug.
    • 52 Metascore
    • 50 Ty Burr
    All this manic invention is great fun for a while, until Tai Chi Zero falls apart on the rocks of the eternal verities: story, acting, direction.
    • 72 Metascore
    • 50 Ty Burr
    An amiable if not especially urgent celebration of the life and work of Wayne White.
    • 72 Metascore
    • 50 Ty Burr
    It's pure plastic product from plot line to the pro forma 3-D to the tidy moral lessons - ersatz family entertainment as disposable as it is diverting. It made me want to go read a book.
    • 56 Metascore
    • 50 Ty Burr
    To truly appreciate Wagner & Me, a BBC documentary getting a spotty theatrical release in this country, you have to cherish the music of Richard Wagner with the same quivering intensity as host Stephen Fry.
    • 65 Metascore
    • 50 Ty Burr
    It's both achingly affectionate and a terrible mess.
    • 73 Metascore
    • 50 Ty Burr
    An earnest, extremely grueling, prodigiously crafted true-life drama that takes one of the worst natural disasters in recorded history and reduces it to a bad day at Club Med.
    • 49 Metascore
    • 50 Ty Burr
    As the implausibilities and conspiracies and double-crosses pile up, Broken City paints itself into a corner. A plot can be confusing as long as the filmmakers themselves don't seem confused, but that's not the case here.
    • 45 Metascore
    • 50 Ty Burr
    The results are exactly as patchwork as that sounds, with sequences of rowdy, sacrilegious invention punctuated by long spells of tedium.
    • 44 Metascore
    • 50 Ty Burr
    Which is precisely what’s missing from Oz the Great and Powerful: that sense of emotional journey.
    • 39 Metascore
    • 50 Ty Burr
    Before this urban revenge melodrama falls apart in a clatter of plot absurdities and pretensions, it has its loopy charms.
    • 44 Metascore
    • 50 Ty Burr
    The hair is funny, in part, because not much else is. “Burt Wonderstone” is a lazy, underwritten imitation Will Ferrell movie.
    • 51 Metascore
    • 50 Ty Burr
    You’ve seen pieces of this movie in “Psycho,” “Silence of the Lambs,” and 2004’s “Cellular.” Still, the early scenes in the Hive give The Call a needed novelty: It’s a workplace drama, and the work is responding to other people’s desperate worst-case scenarios.
    • 44 Metascore
    • 50 Ty Burr
    If this is daring in theory, it's a failure in practice. Exactingly well-made, the movie is grueling and unpleasant in the extreme - that's the point - but it's also working from a specious premise, that film-school Brechtian devices can bring on mass enlightenment.
    • 58 Metascore
    • 50 Ty Burr
    The director’s first real misfire, a meditation on love and lost paradise that starts with breathtaking assurance and slowly crumbles into self-parody.
    • 61 Metascore
    • 50 Ty Burr
    With Trance, story becomes just another element in Boyle’s commercial pop-Cubism, and the results are nearly fatal.
    • 60 Metascore
    • 50 Ty Burr
    Director/co-writer Ariel Vromen has made a grimly passable crime drama in the sub-“GoodFellas”/“Sopranos” vein, and if you’re looking for something to order up on a slow Saturday night, it’ll do.
    • 60 Metascore
    • 50 Ty Burr
    Bahrani is brilliant at small gestures and the way they can speak volumes, but in At Any Price he’s aiming for grand tragedy, and he doesn’t yet have the knack. The pacing of the final act is uncertain; the epic sweep doesn’t arrive.
    • 42 Metascore
    • 50 Ty Burr
    It’s the kind of Hollywood formula product that proves why the formula’s so hard to kill: simultaneously easy to like and impossible to respect.
    • 37 Metascore
    • 50 Ty Burr
    Only God Forgives is the kind of remarkable disaster only a very talented director can make after he finds success and is then allowed to do whatever he wants.
    • 55 Metascore
    • 50 Ty Burr
    The movie has style but increasingly little sense.
    • 44 Metascore
    • 50 Ty Burr
    It’s an August dog-day special, in other words: a few easy laughs, one or two flashes of inspiration, and enough sentimentality to ensure that no one actually gets hurt.
    • 49 Metascore
    • 50 Ty Burr
    This is back-to-basics stuff, which turns out to be not such a bad idea.
    • 61 Metascore
    • 50 Ty Burr
    Haute Cuisine proves the limits of cinema: It’s a movie that needs Taste-o-Vision.
    • 49 Metascore
    • 50 Ty Burr
    The Fifth Estate is itself the response of an entrenched and corporatized information system toward something it barely comprehends. It makes a media format that has sustained us for decades — the two-hour movie — feel like a 20th-century dinosaur.
    • 54 Metascore
    • 50 Ty Burr
    Has its moments of visual invention and self-aware humor — mostly when the hero’s trickster brother Loki (Tom Hiddleston) is around — but otherwise it’s an awkwardly plotted extravaganza.
    • 57 Metascore
    • 50 Ty Burr
    A meticulously observed, rapturously directed account of World War III and its aftermath as seen from the point of view of a spoiled young woman. The movie’s pretty fascinating before it goes bonkers.
    • 53 Metascore
    • 50 Ty Burr
    The film is unobjectionable, sentimental, and not a little dull.
    • 60 Metascore
    • 50 Ty Burr
    The movie is extremely well produced, it features two excellent lead performances, and it is dull.
    • 52 Metascore
    • 50 Ty Burr
    It’s a great story, and much of it’s true. This should work like a pip. Instead, The Monuments Men is a tonal mishmash: Half “Hogan’s Post-Doctoral Heroes,” half “Saving Private Rembrandt,” and half “Ingres’s 11.” That’s three halves, so you can see the problem.
    • 52 Metascore
    • 50 Ty Burr
    The film doesn't embarrass itself or dishonor its predecessor, which is something.
    • 31 Metascore
    • 50 Ty Burr
    Goldsman takes Helprin’s book — a work overflowing with events, ideas, characters, passions — and pounds away at it until all that’s left is mush.
    • 48 Metascore
    • 50 Ty Burr
    Basically, if the first “300” was a pep-talk from Coach on how to lose with dignity, Rise of an Empire is an inspirational speech on the value of teamwork.
    • 62 Metascore
    • 50 Ty Burr
    They’re calling it a movie, but no matter how you squint at it it’s a TV show.
    • 48 Metascore
    • 50 Ty Burr
    Divergent is almost good enough to make you forget what a cynical exercise it is on every possible level. The original 2011 young adult novel by Veronica Roth — reasonably engrossing, thoroughly disposable — reads exactly like what it is: an ambitious young author’s attempt to re-write “The Hunger Games” without bringing the lawyers down on her head.
    • 61 Metascore
    • 50 Ty Burr
    At its occasional best, A Birder’s Guide to Everything hints at the profound pleasure of standing very still and witnessing wonders the rest of the world passes by.
    • 42 Metascore
    • 50 Ty Burr
    There’s a lot of intelligence in Transcendence. Ironically, almost all of it feels artificial.
    • 53 Metascore
    • 50 Ty Burr
    I'm still not convinced we needed a new Spider-Man series, but at least this installment is interestingly mediocre instead of actively bad.
    • 56 Metascore
    • 50 Ty Burr
    An unusual story and sharp talents have been put through the Disney family-film machinery and come out flattened into formula. It’s an average movie, and that isn’t bad — just average.
    • 64 Metascore
    • 50 Ty Burr
    There’s a thin line between the iconic and the generic, and The Rover, a grim post-apocalyptic drama from down under, wanders back and forth across it in an adrenaline daze.
    • 39 Metascore
    • 50 Ty Burr
    It just plonks down the actress and a handful of stellar co-stars without much in the way of a script, storyline, or actual jokes. Yet you may still come out with a smile on your face. It’s very odd.
    • 62 Metascore
    • 50 Ty Burr
    Begin Again is pleasantly predictable if you’re in an undemanding mood. If you’re not, it’s unbearable, like hearing a treasured folk song given a Hot 97 makeover.
    • 36 Metascore
    • 50 Ty Burr
    This frantic farce about a married couple whose video frolic goes viral would be much less bearable without the topspin Segel imparts to even his silliest dialogue. But he looks hollow-eyed and gaunt, like a man starving himself to prove a point. I want the old, lumpy Jason Segel back. Eat, bubbe, eat.
    • 53 Metascore
    • 50 Ty Burr
    The film is crisply shot, expertly paced, solidly acted, and it gets a goose when Bill Pullman shows up in the late innings as a good-old-boy lawyer. (By contrast, it’s never convincingly explained what stake the union official played by Elias Koteas has in the drama.) All that’s missing is a reason.
    • 54 Metascore
    • 50 Ty Burr
    Above all, it is predictable.
    • 59 Metascore
    • 50 Ty Burr
    The movie has a problem, too: Spall is likable, Kazan is adorable, Driver is amusing enough as the blowhard best friend, and Radcliffe as Wallace is . . . a passive-aggressive lump.
    • 47 Metascore
    • 50 Ty Burr
    The movie runs an hour and a half. Lowry’s book can be read in less than a day. It still gives anyone — child or adult — more than enough to wrestle with.
    • 44 Metascore
    • 50 Ty Burr
    It’s entertaining enough if you turn your brain off.
    • 57 Metascore
    • 50 Ty Burr
    This Equalizer is a brooding, brutal origin tale, one that starts well but steadily caves into genre clichés. It’s a B-movie sheep in A-movie clothing, acceptable meathead mayhem as long as you know what you’re paying for.
    • 66 Metascore
    • 50 Ty Burr
    Here is where All Is By My Side runs into trouble. The real Etchingham has said, forcibly, that this didn’t happen — not the beating nor her subsequent attempted suicide, shown in the film.
    • 37 Metascore
    • 50 Ty Burr
    It’s one of those multi-character morality plays — think “American Beauty” meets “Crash” — and it will play especially well to freaked-out parents, even as it distances itself from them by acknowledging that the kids (most of them, anyway) are all right.
    • 50 Metascore
    • 50 Ty Burr
    Orwellian paranoia doesn’t die, it just gets fresh trimmings, and while The Zero Theorem is as messy and overstuffed as Fibber McGilliam’s closet, its sorrow and anger and demented humor strike just enough fresh sparks to keep this career alive.
    • 64 Metascore
    • 50 Ty Burr
    So it is with St. Vincent, which might be Murray’s “Gran Torino” if you squint at it from one angle, or “Old Meatballs” if you come at it from another.
    • 49 Metascore
    • 50 Ty Burr
    Only Jane, as the cop who knows exactly what Mrs. Collins’s wayward daughter needs, has the sense of threat the movie is seeking. His and Woodley’s scenes together are dirty and alive.
    • 64 Metascore
    • 50 Ty Burr
    It’s a cheat, a cash grab, and it makes for 125 dystopian minutes of set-up with no resolution. But come back next November, folks, and we’ll show you the rest! They should have called it “Mockingjay, Part 1 — The Shakedown.” Or “The Hunger Games 3: Rubble Without a Cause.”
    • 33 Metascore
    • 50 Ty Burr
    The unforced cleverness of the opening scenes gives way to lazy plotting, awkwardly staged musical numbers, and car chases. By the end, the movie resembles just another formulaic, family-friendly piece of product, one the kids will enjoy and you’ll endure as it goes in the DVD player for the 40th time.
    • 64 Metascore
    • 42 Ty Burr
    The novel is a sharp, Dickensian comedy; the film is just plain dull.
    • 35 Metascore
    • 42 Ty Burr
    Proficiently filmed and utterly uninspired.
    • 48 Metascore
    • 42 Ty Burr
    Dian Bachar, as Joe's pint-size sidekick, sounds the only note of sly wit; the unidentified stripper playing T-Rex delivers the only real shock value. The movie could have used a lot more of both.
    • 47 Metascore
    • 42 Ty Burr
    The only entertainment value is in imagining Turner's apoplexy when he watched Spader having sex with Rosanna Arquette's leg wound.
    • 50 Metascore
    • 42 Ty Burr
    Pakula insists that The Pelican Brief is haute cuisine, and the seriousness nearly wrecks it.
    • 30 Metascore
    • 42 Ty Burr
    The movie is too blatant a throwback to crass '80s teen fodder to really work.
    • 48 Metascore
    • 38 Ty Burr
    She's like Bob Hope with fake breasts and a wig. Now, that's scary.
    • 42 Metascore
    • 38 Ty Burr
    Bacon makes an appropriately detestable villain; unfortunately, he's the most interesting character here. As for Love, well, this puts her one career rung closer to ''Hollywood Squares.''
    • 66 Metascore
    • 38 Ty Burr
    Sure, go ahead and take the kids. But, for pity's sake, read them the book first.
    • 36 Metascore
    • 38 Ty Burr
    Abandon is this CLOSE to being good, juicy, bad-movie fun.
    • 39 Metascore
    • 38 Ty Burr
    It's coherent, well shot, and tartly acted, but it wears you down like a dinner guest showing off his doctorate.
    • 33 Metascore
    • 38 Ty Burr
    The feel-bad movie of the summer.
    • 40 Metascore
    • 38 Ty Burr
    Indeed a rip-off - a rehash of Hong Kong superstar Chow's greatest celluloid moments with an overlay of Hollywood action cliches, youth-flick silliness, and ah-so stereotypes.
    • 47 Metascore
    • 38 Ty Burr
    The ugly duckling of Nickelodeon's after-bath lineup. That's its strength.
    • 25 Metascore
    • 38 Ty Burr
    Harmless in the extreme and it'll mute your kids for nearly 80 minutes, but why not just treat the little yard apes to the real deal and take them to ''Spirited Away''?
    • 27 Metascore
    • 38 Ty Burr
    A pleasant, thin, hammerlocked movie about the pleasures of breaking free - it's the Cliff Notes version of anarchic classics like ''Bringing Up Baby'' or ''What's Up, Doc?'' Should you want to take the graduate course, you'll find those films at your video store.
    • 46 Metascore
    • 38 Ty Burr
    Perhaps the biggest disappointment is that The In-Laws was directed by Andrew Fleming, who delivered the fizzy Nixon-era comedy ''Dick'' a few years back and who also had a hand in ''Grosse Pointe,'' the wicked, briefly-lived WB parody of TV teen dramas. The man obviously knows from satire, but not on the evidence of anything here.
    • 52 Metascore
    • 38 Ty Burr
    A blandly filmed and subtext-heavy talkathon that wastes a game cast on a group of characters about whom it's almost impossible to care. If this were a cocktail party, you'd be back home with a good book already.
    • 40 Metascore
    • 38 Ty Burr
    Del Toro does remind you of Brando here; unfortunately, it's the Brando of ''Apocalypse Now,'' the one with the green face and puffy line readings. Jones fares better, even if he wears the same grieving-for-humanity expression throughout the film.
    • 63 Metascore
    • 38 Ty Burr
    Settles for the cliches of American suspense films, right down to an ending that leaves the door open to a possible sequel.
    • 49 Metascore
    • 38 Ty Burr
    What it is, distressingly, is a mess - a ragbag of promising ideas and failed narrative, of good acting and plain old bad filmmaking.
    • 28 Metascore
    • 38 Ty Burr
    Pureed, predictable conflation of ''Alien'' and ''Titanic'' and ''The Shining.''
    • 28 Metascore
    • 38 Ty Burr
    Reasonably painless if you've never seen a comedy about the travails of newlyweds.
    • 30 Metascore
    • 38 Ty Burr
    Has the distinction of being much dumber and pulpier than the comic book on which it's based -- the ink practically comes off on your fingers as you watch it.
    • 39 Metascore
    • 38 Ty Burr
    There are about 15 minutes of genuine, bust-a-gut comedy in Bringing Down the House, and, surprisingly, they belong to Steve Martin, who hasn't been funny on film in years.
    • 33 Metascore
    • 38 Ty Burr
    Equilibrium just happens to be a really bad comic book.
    • 52 Metascore
    • 38 Ty Burr
    There are rich issues at play here, about the nature of attraction and whether individual will is or isn't pinned to the wheel of physiology. But Decena hasn't dramatized them; he's used them as talking points set to an indie-film guitar strum, and the result is both earnest and passionless.
    • 46 Metascore
    • 38 Ty Burr
    It might even work if In the Cut was remotely convincing as a thriller, but Campion can't help wrinkling her nose at genre.
    • 52 Metascore
    • 38 Ty Burr
    The Gospel of John is to "The Passion of the Christ" as tap water is to parboiled sacramental wine.
    • 55 Metascore
    • 38 Ty Burr
    Hints at a place where desire, fear, pleasure, and power all intersect, but it never actually goes there.
    • 33 Metascore
    • 38 Ty Burr
    It's a disappointingly limp small-town farce played several shades too broadly by a cast that has done better work elsewhere.
    • 43 Metascore
    • 38 Ty Burr
    Has a welcome humor but only in theory, and theory, chilly and self-involved, is where this filmmaker seems most at home. Like its bio-digital sirens, the movie never quite comes alive.
    • 45 Metascore
    • 38 Ty Burr
    A bumptious splatter farce that manages to improve from awful to moderately engaging as its cast is winnowed down to the five guys themselves.
    • 52 Metascore
    • 38 Ty Burr
    Beware of stoner rock stars talking politics. No matter where you stand on the spectrum, the ecological/anticorporate idealism of Greendale is so vague as to be insulting to anyone past the backpack-and-Birkenstocks stage of life.
    • 52 Metascore
    • 38 Ty Burr
    Truly, there is nothing the woman (Isabelle Huppert) can't do - except save "Promise'' from the valley of the shadow of bad French movie pretensions.
    • 53 Metascore
    • 38 Ty Burr
    The producers of Ella Enchanted probably assume, correctly, that many more kids haven't read the book than have, and they're out to give that audience a slick, shallow good time.
    • 43 Metascore
    • 38 Ty Burr
    A textbook example of how a director can strip away plot, motivation, character, and meaning and still leave arrant pretension standing tall.
    • 35 Metascore
    • 38 Ty Burr
    We haven't had a good Frankenstein, Dracula, or Wolf Man movie in a long time, so here's one where the whole gang shows up. One catch: It's not good.
    • 44 Metascore
    • 38 Ty Burr
    The director deserves admiration for sticking to her guns, but here's a heretical notion: Maybe the producer's cut would have been a better movie. This version may be too late, but it's also too little, and that's what hurts.
    • 38 Metascore
    • 38 Ty Burr
    Works so hard to be inoffensive that you may well be offended.
    • 49 Metascore
    • 38 Ty Burr
    A peppy, fast-moving, wafer-thin amusement that's fine for kids if you don't mind a lot of Three Stooges-style martial arts. For grown-ups, it's the equivalent of a 59-cent tin globe.
    • 56 Metascore
    • 38 Ty Burr
    The result is a revenge thriller that's too taken with its own ambience to actually thrill.
    • 43 Metascore
    • 38 Ty Burr
    So unfocused is Shonda Rhimes's screenplay and so flabby is Marshall's direction.
    • 53 Metascore
    • 38 Ty Burr
    She has been made lovable -- and a Vanity Fair with a lovable Becky Sharp has no reason to exist. It's as if Shakespeare had put Hamlet on Prozac: What's the point?
    • 40 Metascore
    • 38 Ty Burr
    If you're up for a relentlessly overripe melodrama that takes place in movie-Europe as opposed to the real thing (the Parisian streetwalkers in berets are a good tip-off), by all means catch Head in the Clouds.
    • 47 Metascore
    • 38 Ty Burr
    As it is, the movie only shudders to life when Dickie Pilager's onscreen.
    • 48 Metascore
    • 38 Ty Burr
    Where "Nemo" was clever, soulful, and marvelous to look at, "Tale" is manic and surprisingly ugly, with a script that leans on the shallowest aspects of hip-hop street cred while pimping for corporate product placement at every turn.
    • 50 Metascore
    • 38 Ty Burr
    Such a meticulously wrought piece of hokum that it's both easy to admire and impossible to warm up to.
    • 38 Metascore
    • 38 Ty Burr
    For a movie that's sexist, racist, and possibly the most deeply closeted gay love story to be released this year, After the Sunset is reasonably entertaining.
    • 68 Metascore
    • 38 Ty Burr
    Ye bites off substantially more than he can chew.
    • 48 Metascore
    • 38 Ty Burr
    Works hard to give quirk a bad name.
    • 43 Metascore
    • 38 Ty Burr
    Williams gives a performance that's honest and carefully wrought but on some level still a stunt. All that courtliness is wearing him out, and it's wearing us out too.
    • 30 Metascore
    • 38 Ty Burr
    JUST worth your children's time, and hardly worth yours.
    • 34 Metascore
    • 38 Ty Burr
    Bewitched presents a phony and cynical look at how Hollywood might make or remake a television show. It's as grating, laughless, and narcissistic (though, to its credit, not as cruel) as that new Lisa Kudrow show-within-a-show-within-a-show, "The Comeback."
    • 34 Metascore
    • 38 Ty Burr
    In Undead, sadly, rigor mortis has set in.
    • 45 Metascore
    • 38 Ty Burr
    The top-secret message this pigeon is carrying reads ''Wait for the DVD."
    • 33 Metascore
    • 38 Ty Burr
    Dreadful.
    • 55 Metascore
    • 38 Ty Burr
    Aggressive visual invention is rarely its own reward, and this movie does nothing to better the odds.
    • 30 Metascore
    • 38 Ty Burr
    Teenage boys will be in heaven. All others: Check, please.
    • 51 Metascore
    • 38 Ty Burr
    The film pulls off the remarkable feat of immersing a viewer in their world without providing any insights whatsoever.
    • 44 Metascore
    • 38 Ty Burr
    A glorious disaster.
    • 34 Metascore
    • 38 Ty Burr
    Noisy, silly, gratingly upbeat, and piously sentimental, 'Cheaper by the Dozen 2 is what passes for wholesome family entertainment these days. It's the sort of movie to send small children and grandparents out of the theater hugging each other and strong men in search of bourbon.
    • 45 Metascore
    • 38 Ty Burr
    One aches to think what the great "Looney Tunes" directors could have done with this material.
    • 41 Metascore
    • 38 Ty Burr
    All the pieces are in place for an incisive tale of Brit-pop ego and madness, but filmmaker Stephen Woolley -- a celebrated UK producer ("The Crying Game") making his directing debut -- lets the story get away from him.
    • 47 Metascore
    • 38 Ty Burr
    How's the movie? Technologically incredible, aesthetically pretty hideous, and narratively lumpy: Kids who aren't cynics (i.e., 9 and under) will roll with it.
    • 33 Metascore
    • 38 Ty Burr
    RV
    RV has teeth -- more teeth than the last few Steve Martin films, anyway -- but it's terrified to bite down, knowing that the paying audience would feel it more than anyone.
    • 54 Metascore
    • 38 Ty Burr
    Zwigoff's overdue for a turkey, in other words. Art School Confidential is it.
    • 53 Metascore
    • 38 Ty Burr
    Handsomely shot and with a likable lead in Kuno Becker, it also suffers from a script so outrageously generic you could buy it at Costco.
    • 17 Metascore
    • 38 Ty Burr
    Generic teen dice-and-slice with interior design by way of ''Saw." The movie's tight and reasonably well shot, though, and there are flashes of nasty invention between the ritual guttings.
    • 45 Metascore
    • 38 Ty Burr
    The biggest unresolved question here is why we're paying $9.50, plus popcorn, for something we can presumably get at home for free.
    • 40 Metascore
    • 38 Ty Burr
    The film's biggest miracle is the straight face Nick Nolte maintains in his role as Socrates.
    • 53 Metascore
    • 38 Ty Burr
    A noisy and lazy stopgap movie that goes absolutely nowhere and takes 2 1/2 hours to get there.
    • 42 Metascore
    • 38 Ty Burr
    Speaking as both a parent and a critic, I do believe I'd rather drive rusty railroad spikes through my eyes than have to sit through one more computer generated family film about talking animals. The bad news for Hollywood is that after seeing Barnyard my kids feel the same way.
    • 26 Metascore
    • 38 Ty Burr
    Pure Saturday matinee kiddie fodder and this close to going straight to DVD.
    • 30 Metascore
    • 38 Ty Burr
    Earnest and predictable, Crossover deserves more than the horselaughs that will probably greet it in theaters -- but not a lot more. The movie is harmless, which is both its strength and its weakness.
    • 19 Metascore
    • 38 Ty Burr
    The Covenant is dopey, formulaic stuff for the Friday night fright crowd. Worse for them, it's never remotely scary.
    • 44 Metascore
    • 38 Ty Burr
    It achieves something previously thought impossible: It renders Billy Bob Thornton unfunny.
    • 63 Metascore
    • 38 Ty Burr
    Even a fan, however, might prefer the excellent, recently released concert DVD "Pixies: Live at the Paradise in Boston" to this tepid behind-the-scenes experience.
    • 38 Metascore
    • 38 Ty Burr
    The result is movie goulash: made with love, impossible to digest.
    • 32 Metascore
    • 38 Ty Burr
    The bad news, for those looking forward to The Santa Clause 3: The Escape Clause with anything like enthusiasm, is this: Bernard the Elf is history.
    • 38 Metascore
    • 38 Ty Burr
    As B-level suspensers go, though, The Return isn't actively awful -- just slow and cursed with a lead who acts with her t-shirt.
    • 49 Metascore
    • 38 Ty Burr
    There's a great movie somewhere in The Good German, but it's buried under three tons of run-amok formalism.
    • 22 Metascore
    • 38 Ty Burr
    Silly, obvious, clumsy, and just gruesome enough to keep jaded genre fans from angrily throwing popcorn at the screen.
    • 39 Metascore
    • 38 Ty Burr
    Watching Arthur and the Invisibles is like sticking your head in a Gallic pinball machine: It's hectic, technically impressive, and your skull starts to pound after a while.
    • 45 Metascore
    • 38 Ty Burr
    Factory Girl is not, strictly speaking, a bad movie. It's something worse: an irredeemably banal drama about some of the most protean, contradictory creative forces of the 1960s.
    • 35 Metascore
    • 38 Ty Burr
    Primeval is a hoot if you're in the mood, though, and it gets points for trying to stuff a little globo-think into the minds of Friday night mayhem fans (who will probably rebel, since only one skull pops like a grape).
    • 34 Metascore
    • 38 Ty Burr
    The Messengers is textbook, and the course it's teaching is HSL: Horror as a Second Language.
    • 35 Metascore
    • 38 Ty Burr
    Ghost Rider is the kind of movie that's great stupid fun as long as someone else is buying the tickets.
    • 43 Metascore
    • 38 Ty Burr
    And that dog -- or, rather, that digitally enhanced replicant -- is just plain creepy.
    • 39 Metascore
    • 38 Ty Burr
    The dialogue is brightly self-conscious, and sometimes it clicks. Just as often it curdles into an entitled whining.
    • 48 Metascore
    • 38 Ty Burr
    Faced with a limited location and concept, Renfroe points his camera everywhere: The movie's seriously overshot, never settling for one angle when five would do.
    • 53 Metascore
    • 38 Ty Burr
    Too many cliches and not enough energy have come along for the ride.
    • 52 Metascore
    • 38 Ty Burr
    Meant to be an insider's tale, but it feels like it comes from the cinema of hangers-on.
    • 52 Metascore
    • 38 Ty Burr
    An overstuffed turkey that's entertaining for all the wrong reasons.
    • 33 Metascore
    • 38 Ty Burr
    Watching the movie is a little like picking up issue #42 of a comic book after you've skipped the first 41: There's an entire back story mythos hovering in the background like a phantom limb.
    • 13 Metascore
    • 38 Ty Burr
    Innocuous amusement for 5- to 8-year-olds and other people stuck in the anal stage of development.
    • 45 Metascore
    • 38 Ty Burr
    When Laura Linney turns up about an hour into The Hottest State, you can see the movie that might have been.
    • 57 Metascore
    • 38 Ty Burr
    The film is low budget but puffed with self-importance, and it offers proof that Hollywood filmmakers should probably steer clear of topics that actually matter.
    • 56 Metascore
    • 38 Ty Burr
    Hobbled by its vaguely insulting comic-book version of the '60s and by a humorlessness that can only come from talented people convinced they're creating work for the ages.
    • 45 Metascore
    • 38 Ty Burr
    Sydney White makes "Mean Girls" look like Shakespeare.
    • 38 Metascore
    • 38 Ty Burr
    The producers - Fox Films and the usually reliable Walden Media - have tried to gin up the story for multiplex audiences. They've succeeded in making a movie for no audience at all.
    • 35 Metascore
    • 38 Ty Burr
    There have been plenty of movies adapted from video games before, but Hitman may be the first one that actually feels like a computer wrote and directed it.
    • 40 Metascore
    • 38 Ty Burr
    The result is a movie that's both clever and stupid - an interesting feat.
    • 50 Metascore
    • 38 Ty Burr
    Not good enough to take seriously and, sadly, not bad enough to be any fun.
    • 48 Metascore
    • 38 Ty Burr
    21
    The movie's chief audience, consequently, will probably be gullible and young, responding to the cliches only because they haven't seen them before. They have a word in Vegas for these people: Suckers.
    • 37 Metascore
    • 38 Ty Burr
    In Made of Honor, the leads are beautiful and everyone else is a freak. So where does that leave us?
    • 37 Metascore
    • 38 Ty Burr
    All that's missing is coherence. Call it Blunderbuss Satire.
    • 36 Metascore
    • 38 Ty Burr
    Short, cheap, weird, and passably diverting.
    • 31 Metascore
    • 38 Ty Burr
    Despite exotic locations, epic cinematography, and much spectacular crash and bang, this "Mummy" feels like a threadbare toss-off.
    • 30 Metascore
    • 38 Ty Burr
    The movie's cleverest idea is to give the Octopus identical clone henchmen with names like Phobos, Logos, and Huevos, all played by Louis Lombardi with a marvelous fat-boy idiot grin.
    • 35 Metascore
    • 38 Ty Burr
    Nothing in How to Lose Friends feels fresh or on target.
    • 57 Metascore
    • 38 Ty Burr
    Ball's trying to be honest about adolescent coming of age, but since he's dishonest about everything else, the movie collapses in on itself.
    • 49 Metascore
    • 38 Ty Burr
    Family, sadly, is a plate of leftovers: a bland, baldly written melodrama about two longtime best friends and their messed-up families.
    • 26 Metascore
    • 38 Ty Burr
    Worst of all, the movie's simply not very shocking. Madonna has made a career out of toying with image and ego, but this is a vanity project in the smallest sense possible.
    • 36 Metascore
    • 38 Ty Burr
    Perhaps because Campbell is a purist at heart, My Name Is Bruce is as awful as anything he has done - a broadly silly gore comedy in which no gag is too cartoonish to be indulged in at least once and preferably three times.
    • 41 Metascore
    • 38 Ty Burr
    Four Christmases is essentially "Meet the Parents" quadrupled.
    • 30 Metascore
    • 38 Ty Burr
    If most December movie releases are epic-length and Oscar-ambitious, then Punisher: War Zone has to be considered Hobbesian counterprogramming: It's nasty, brutish, and short.
    • 24 Metascore
    • 38 Ty Burr
    A chick flick that makes its chick characters - and by extension its chick audience - look like hateful, backward toddlers, and there is something wrong with that.
    • 39 Metascore
    • 38 Ty Burr
    Young children and adults with high pain thresholds will enjoy the movie during its brief pause on the way to your On Demand menu.
    • 45 Metascore
    • 38 Ty Burr
    Its swooping 3-D visuals let fans briefly feel they can touch a group that barely exists behind a wall of beefy security men.
    • 41 Metascore
    • 38 Ty Burr
    Starts off mildly ridiculous, ascends to the full-blown ludicrous, and finally sails boldly off the edge of the absolutely preposterous.
    • 39 Metascore
    • 38 Ty Burr
    A "great poet" movie, the poet in this case being Dylan Thomas, and it's utter bollocks.
    • 41 Metascore
    • 38 Ty Burr
    Imagine some very smart people setting out to make a very naughty action film and shooting themselves in the foot. Voila: Crank: High Voltage.
    • 41 Metascore
    • 38 Ty Burr
    Jarmusch has come up with a dud.
    • 41 Metascore
    • 38 Ty Burr
    The problem is that both Philippa Goslett's script and Paul Morrison's direction lack the stylistic craziness - the sense of real, lunatic danger - a project like this desperately needs.
    • 50 Metascore
    • 38 Ty Burr
    Sometimes a cute-stalker movie can win the audience's heart. Management only makes you ponder the line between true love and a restraining order.
    • 42 Metascore
    • 38 Ty Burr
    It's bigger, noisier, shinier, and dumber, and it has no earthly reason to exist.
    • 41 Metascore
    • 38 Ty Burr
    The general consensus on this one: Rats.
    • 53 Metascore
    • 38 Ty Burr
    Be warned, though: This is the multiplex equivalent of ADD.
    • 32 Metascore
    • 38 Ty Burr
    Genially terrible, Lost is lazy, sloppy multiplex filler, good for a few solid giggles and not much more.
    • 35 Metascore
    • 38 Ty Burr
    2 1/2 hours of tumescence disguised as a motion picture.
    • 42 Metascore
    • 38 Ty Burr
    Aliens in the Attic is conveyor-belt family product, an action/adventure/sci-fi/comedy made from the bland corporate DNA of Nickelodeon and the Disney Channel. It appears designed for families who never leave the mall.

Top Trailers