For 2,259 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 3.6 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Seven Samurai (re-release)
Lowest review score: 0 The Nutcracker
Score distribution:
2259 movie reviews
    • 36 Metascore
    • 38 Ty Burr
    Abandon is this CLOSE to being good, juicy, bad-movie fun.
    • 34 Metascore
    • 38 Ty Burr
    To watch Alice Through the Looking Glass is to witness an army of smart, creative people dumbing themselves down into delivering what they think the market wants.
    • 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.
    • 41 Metascore
    • 38 Ty Burr
    Jarmusch has come up with a dud.
    • 39 Metascore
    • 38 Ty Burr
    You'll come away from Legendary with no sense of what amateur wrestling is about.
    • 34 Metascore
    • 38 Ty Burr
    The movie takes a decent “Twilight Zone” idea -- what if you had a second chance at youth? -- and runs it into the ground with watchable but diminishing returns.
    • 64 Metascore
    • 38 Ty Burr
    Regrettably, it’s terrible poetry: a roughly chronological jumble of archival footage, unconvincing period reenactments, gauzy voice-overs, and half-baked ideas that makes one yearn for the stolid dullness of a History Channel documentary.
    • 41 Metascore
    • 38 Ty Burr
    The general consensus on this one: Rats.
    • 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.
    • 44 Metascore
    • 38 Ty Burr
    A grimly preposterous serial-killer thriller set in 19th-century Baltimore, this riff on the final days of the author of "The Tell-Tale Heart" and other masterpieces of the macabre might qualify as literary desecration if it weren't so silly.
    • 54 Metascore
    • 38 Ty Burr
    If ever a movie were lost in translation, it’s Mood Indigo, the latest from the scattershot genius Michel Gondry (“Eternal Sunshine of the Spotless Mind,” “The Science of Sleep”). With his penchant for sad-sack dreamers and gonzo visual gags, Gondry can make a director like Wes Anderson look like a prig, and “Mood” allows him freer access to his fancy than usual.
    • 40 Metascore
    • 38 Ty Burr
    The film's biggest miracle is the straight face Nick Nolte maintains in his role as Socrates.
    • 55 Metascore
    • 38 Ty Burr
    It’s been a while since there’s been this much dead air onscreen; over and over, Smith sets up a sequence, lets his actors shpritz, and stands by as the energy fades into giggly catatonia.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 38 Ty Burr
    There’s a reason the movie has been pushed off the back of the truck into late February. It’s damaged goods.
    • 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.
    • 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.
    • 40 Metascore
    • 38 Ty Burr
    Dazzling to behold yet puny of imagination, the movie takes the “Star Wars” formula — hero myths nicked from Joseph Campbell, cutting-edge visual effects, comic-strip dialogue, goofy-looking aliens — and reduces it to generic Big Box shelf product.
    • 39 Metascore
    • 38 Ty Burr
    All that’s missing is Clyde the orangutan from Clint Eastwood’s “Every Which Way But Loose,” which, trust me, this movie could have used.
    • 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.
    • 39 Metascore
    • 38 Ty Burr
    In no way, shape, or fashion does Queen of the Desert qualify as a good movie, but for fans of Werner Herzog — those of us who have followed cinema’s Teutonic imp of the perverse since the 1970s, when he was staging all-dwarf fables and sending conquistadors across mountains — it is fascinating and something close to a must-see.
    • 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.
    • 38 Metascore
    • 38 Ty Burr
    Works so hard to be inoffensive that you may well be offended.
    • 41 Metascore
    • 38 Ty Burr
    Almost but not quite as obnoxious as its title. Little kids will love it. You’ll need a hazmat suit.
    • 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.
    • 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.
    • 35 Metascore
    • 38 Ty Burr
    2 1/2 hours of tumescence disguised as a motion picture.
    • 55 Metascore
    • 38 Ty Burr
    Hints at a place where desire, fear, pleasure, and power all intersect, but it never actually goes there.

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