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 Four Times (Le Quattro Volte)
Lowest review score: 0 All About Steve
Score distribution:
2266 movie reviews
    • 84 Metascore
    • 58 Ty Burr
    A sumptuous two-and-a-quarter-hour emotional epic built on one lachrymose climax after another. What little plot there is exists only to set up the next Big Cry.
    • 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.
    • 80 Metascore
    • 50 Ty Burr
    A textbook case of filmmakers who can't make up their minds about their characters; it's a failure of nerve disguised as dramatic ambiguity.
    • 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.
    • 76 Metascore
    • 50 Ty Burr
    The film's case against overdevelopment needs to be, and could be, aggressive, airtight. It should play to the unconverted. Instead, The Unforeseen gives us . . . poetry.
    • 43 Metascore
    • 50 Ty Burr
    Reilly gives it his all, and he’s both very enjoyable and about as scary as a stubbed toe.
    • 75 Metascore
    • 50 Ty Burr
    This payback-revenge storyline, told mostly at night with minimal dialogue, is tense but familiar, and Bruno's quick-draw costume changes are fun to watch.
    • 74 Metascore
    • 58 Ty Burr
    Judging by the title, though, Sprecher made the movie she wanted to make, and if you're in the right damp-wool mood, you may connect with it too.
    • 74 Metascore
    • 50 Ty Burr
    Primarily a one-man show for Darroussin, and the actor, a longtime pro in the French film industry, comes through with a scarifyingly believable portrayal.
    • 74 Metascore
    • 50 Ty Burr
    With mother!, Aronofsky throws caution to the winds and delivers his most abstract cinematic experience yet. It’s also arguably his worst.
    • 74 Metascore
    • 50 Ty Burr
    The film's a minuet fetishistically repeated until either the audience or the lovers go crazy. I'd say it was a tie.
    • 74 Metascore
    • 50 Ty Burr
    Barrels along on a diverting enough sugar high, but in the hangover that follows you may wonder where the wonder was.
    • 73 Metascore
    • 50 Ty Burr
    The movie trades the paranoia of modern omni-cam culture for a tighter, more personal drama, and while it sticks with you, you feel the missed opportunity like a phantom leg.
    • 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.
    • 72 Metascore
    • 50 Ty Burr
    A structural mess that turns contrived just when it should be hitting home.
    • 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.
    • 72 Metascore
    • 50 Ty Burr
    These are some of the questions raised and left on the table in the fascinating but frustratingly murky Author: The JT Leroy Story, a documentary by Jeff Feuerzeig that’s worth seeing if only to argue with the movie and with yourself.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Ty Burr
    Hoffman confessed he was drawn to the role because ''this was a guy who didn't know how to feel, and I found that fascinating.'' His challenge is our frustration
    • 70 Metascore
    • 50 Ty Burr
    This isn't a movie -- it's an author in love with the sound of her own voice.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Ty Burr
    The movie ends with a sentimental vision of unity that, admittedly, warmed this weary moviegoer's heart. If that vision was earned, I might even have melted.
    • 69 Metascore
    • 50 Ty Burr
    At best, it's unnecessary. At worst, it's vaguely insulting.
    • 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.
    • 69 Metascore
    • 50 Ty Burr
    Wants to be as shocking as its title, but it doesn't have the nerve.
    • 69 Metascore
    • 50 Ty Burr
    A sizable amount of national pride is on display in Ong-Bak.
    • 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.
    • 68 Metascore
    • 50 Ty Burr
    Monster House is the first horror comedy made exclusively for fourth-graders.
    • 68 Metascore
    • 50 Ty Burr
    Genial, silly, and instantly forgettable, Popstar: Never Stop Never Stopping is just another piece of product from the larger “Saturday Night Live” universe, a way for a former cast member to try to prove he’s capable of carrying a movie.
    • 68 Metascore
    • 50 Ty Burr
    Real satire must be savage, and Four Lions, for all its daring, finally doesn't dare enough.
    • 67 Metascore
    • 50 Ty Burr
    A clever and heartfelt comedy-drama that remains aloft as long as it retains its sense of humor; when the going gets serious, the dialogue turns therapeutic and heavy. Still, it’s a decent debut and an ambitious attempt to juggle tones.
    • 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.
    • 67 Metascore
    • 50 Ty Burr
    There’s a lot of talent here and a lot of enthusiasm; also a lot of influences that haven’t been successfully reprocessed into something convincing or fresh. It’s a mess, but a reasonably charming one.
    • 67 Metascore
    • 50 Ty Burr
    Time to Leave is an unintended litmus test for lovers of foreign films.
    • 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.
    • 66 Metascore
    • 58 Ty Burr
    It's a little short on coherence and long on comic-book sensationalism -- dig the hokey, climactic Battle of the Minds between the hero and a cadaverous Mr. Big -- but there's no denying the nightmarish pull of the film's aesthetic.
    • 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.
    • 65 Metascore
    • 50 Ty Burr
    It's both achingly affectionate and a terrible mess.
    • 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.
    • 65 Metascore
    • 50 Ty Burr
    It's a doughty movie, stuck halfway between Masterpiece Theatre and Classics Illustrated, but, to his credit, gifted journeyman director Michael Apted understands he's playing the long game.
    • 65 Metascore
    • 50 Ty Burr
    In short, there’s plenty of spectacle in Beauty and the Beast, which will be enough for many if not most young audiences. But there isn’t much magic, and what there is coasts on 26-year-old fumes.
    • 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.
    • 65 Metascore
    • 50 Ty Burr
    There's a great movie to be had in the notion of a busybody whose advice keeps blowing up in his face, but Dan in Real Life merely sets it up and walks away.
    • 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.
    • 65 Metascore
    • 50 Ty Burr
    Isn't a first-date movie. As a third -date movie, though, it's just about perfect.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Ty Burr
    Thriller fans might remember a terrific 1987 B flick called ''The Stepfather.'' One Hour Photo is that film, directed by an art student.
    • 64 Metascore
    • 50 Ty Burr
    Aside from pretty people behaving cutely, there's just not much here, and even devoted Francophiles may nod into their cafe crèmes.
    • 64 Metascore
    • 50 Ty Burr
    This is a buddy movie in which one of the buddies is dead. Yet, if anything, the emotional bonding is — or wants to be — more resonant than ever.
    • 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.”
    • 64 Metascore
    • 50 Ty Burr
    The movie’s OK, nothing more.
    • 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.
    • 64 Metascore
    • 42 Ty Burr
    The novel is a sharp, Dickensian comedy; the film is just plain dull.
    • 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.
    • 63 Metascore
    • 50 Ty Burr
    A mostly lumbering, occasionally rousing epic that walks a bizarre line between historical fact and Hollywood wishful thinking.
    • 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.
    • 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
    This is no corporate project made to squeeze a few more dollars from a fading cash cow. No one else has been asking for another "Rocky," other than maybe Burt Young . No, this is a rarer beast -- an auteur sequel -- and it's so wrapped up in its maker's personal mythology and psychic needs that it becomes a hall of mirrors to which we're given a slack-jawed ringside seat.
    • 63 Metascore
    • 50 Ty Burr
    The film itself suggests a sketch video on Ferrell and McKay's "Funny or Die" website, padded out to the dimensions of a character comedy.
    • 63 Metascore
    • 50 Ty Burr
    Shallow and proud of it, an antic cartoon that lacks the comic inspiration to go the distance.
    • 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.
    • 62 Metascore
    • 50 Ty Burr
    Youth recedes, the body decays, life is a compromised thing: These are truths. But they're not fresh truths, and Moss's riverdogs are hardly the first to have discovered them.
    • 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.
    • 62 Metascore
    • 50 Ty Burr
    Genuine, artful simplicity may be an impossible quality in a modern children's movie, so Curious George opts instead for mayhem under a blanket of sweetness. The little ones understand.
    • 62 Metascore
    • 50 Ty Burr
    They’re calling it a movie, but no matter how you squint at it it’s a TV show.
    • 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.
    • 62 Metascore
    • 50 Ty Burr
    Story lines don't come any clammier.
    • 62 Metascore
    • 50 Ty Burr
    The film's meta-fey title alone is an example of why some people adore Anderson and why he drives others absolutely crazy.
    • 62 Metascore
    • 50 Ty Burr
    At one point in ''Praise,'' Godard mentions that the Bois de Boulogne, the Parisian park, is all that's left of the French forests from the time of the Roman conquest. In Praise of Love, glowing like an ember, is all that's left of genius.
    • 62 Metascore
    • 50 Ty Burr
    It's predictable fluff, sometimes pleasantly so, at others times irritatingly.
    • 61 Metascore
    • 50 Ty Burr
    Heavy metal, alt-pop, southern rock, orchestral swells, wailing Middle Eastern tunes all vie for our attention, but none of this noise drowns out the sound of good intentions twisting themselves into an impotent knot.
    • 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.
    • 61 Metascore
    • 50 Ty Burr
    Zemeckis and Hanks really seem to think they’re giving us a Christmas movie for the ages and a technology that will change cinema forever. They’re wrong on both counts. The Polar Express is merely a marvelous toy that has somehow become convinced it has a soul.
    • 61 Metascore
    • 50 Ty Burr
    The people who've made White Oleander appear to have spent a lot of time worrying about the audience. They should have told the story and let us take care of ourselves.
    • 61 Metascore
    • 50 Ty Burr
    Likably played by Bruhl, the castaway remains more dramatic device than living, breathing character. And without him truly being there, Dench and Smith are just volleying an imaginary ping-pong ball between them. That's not acting -- that's exercise.
    • 61 Metascore
    • 50 Ty Burr
    Amirpour has the potential to see things as no other filmmaker does, but she doesn’t yet have a vision, and she may not as long as she keeps fiddling around with genre conventions laid down by others. She’s an eccentric magpie of a director, and this time the pieces she collects glitter but never quite cohere.
    • 61 Metascore
    • 50 Ty Burr
    Haute Cuisine proves the limits of cinema: It’s a movie that needs Taste-o-Vision.
    • 61 Metascore
    • 50 Ty Burr
    With Trance, story becomes just another element in Boyle’s commercial pop-Cubism, and the results are nearly fatal.
    • 61 Metascore
    • 50 Ty Burr
    Lust, Caution is a disappointment coming from director Ang Lee, but it's a watchable one, and it rattles around in your head for a long time after you've seen it, as much for what it does right as for where it goes wrong.
    • 61 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.
    • 61 Metascore
    • 50 Ty Burr
    The main, if not only, reason to see The Machinist is for Christian Bale's title performance, and even then you have to be a fan of hardcore martyrdom in the service of craft.
    • 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.
    • 60 Metascore
    • 50 Ty Burr
    I know the opening credits for a James Bond movie are supposed to be silly, but the start of Spectre achieves almost orgasmic levels of kitsch.
    • 60 Metascore
    • 50 Ty Burr
    The first hour of Magic Mike XXL is deadly.
    • 60 Metascore
    • 50 Ty Burr
    Involving and sometimes comically bleak but never fully convincing as drama.
    • 60 Metascore
    • 50 Ty Burr
    An opaque kidnapping drama that features three expertly crafted performances operating on three different planets.
    • 60 Metascore
    • 50 Ty Burr
    A watchable disappointment. Sumptuous to look at, tastefully dull, and ultimately rather silly.
    • 60 Metascore
    • 50 Ty Burr
    The movie is extremely well produced, it features two excellent lead performances, and it is dull.
    • 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.
    • 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
    For the record, Rare Birds doesn't even fly as a birder's special, since Tasseter's Sulfurious Duck is a fictional species. Now, if they'd seen a Eurasian Wigeon, then we'd be talking.
    • 60 Metascore
    • 50 Ty Burr
    The movie never fully clicks.
    • 59 Metascore
    • 50 Ty Burr
    Sarah Silverman is far and away the best part of I Smile Back, a strained entry in the Mad Housewife genre.
    • 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.
    • 59 Metascore
    • 50 Ty Burr
    The carnage is cartoonishly graphic, but the onlookers watching through binoculars from a nearby sandy bluff are impressed.

Top Trailers