For 1,988 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 5.5 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Citizenfour
Lowest review score: 0 The Nutcracker
Score distribution:
1,988 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Ty Burr
    Which is precisely what’s missing from Oz the Great and Powerful: that sense of emotional journey.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    Ice Age: The Meltdown is pure sequel product that should make children and undemanding grown-ups happy even as it lacks anything resembling storytelling inspiration.
    • 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.
    • 57 Metascore
    • 50 Ty Burr
    If you're young, the film may intoxicate you. If you're older, it may make you relieved you're no longer young.
    • 54 Metascore
    • 50 Ty Burr
    In the new comedy Hamlet 2, Coogan comes perilously close to wearing out his welcome. It's actually a pretty fascinating sight.
    • 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?
    • 60 Metascore
    • 50 Ty Burr
    Involving and sometimes comically bleak but never fully convincing as drama.
    • 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.
    • 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.
    • 46 Metascore
    • 50 Ty Burr
    Dawdles amiably and can't quite decide what it wants to be.
    • 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.
    • 60 Metascore
    • 50 Ty Burr
    An opaque kidnapping drama that features three expertly crafted performances operating on three different planets.
    • 27 Metascore
    • 50 Ty Burr
    The movie is this year's "RV," a rolling tent show of suburban male anxieties: castration, obsolescence, dismissive offspring, fears of gayness. LOTS of fears of gayness. Unlike "RV," though, Wild Hogs is funny. Eventually.
    • 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.
    • 54 Metascore
    • 50 Ty Burr
    Genocide is hard to decorate with the trimmings of dark farce. The Hunting Party wants to get at political truths through audaciousness, but it keeps bumping into that problem of taste, only to back down.
    • 50 Metascore
    • 50 Ty Burr
    Maybe it's the era we're living in, but the new film is as much fun as a shroud.
    • 16 Metascore
    • 50 Ty Burr
    Will parents be able to sit through Kangaroo Jack without plunging sharp sticks into their eyes? The short answer? Yes. Barely.
    • 38 Metascore
    • 50 Ty Burr
    The movie equivalent of a box of generic macaroni and cheese: bland, easily digested, comforting, forgettable.
    • 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.
    • 54 Metascore
    • 50 Ty Burr
    Above all, it is predictable.
    • 39 Metascore
    • 50 Ty Burr
    One walks out of Man of the Year aching for the squandered opportunities.
    • 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.
    • 55 Metascore
    • 50 Ty Burr
    Contains more than its share of implausibilities and absurdities.
    • 44 Metascore
    • 50 Ty Burr
    At its best when Anna confronts her tangled Afrikaaner legacy and when it brings the heretical notion of forgiveness up front, where a non-African audience can come to grips with it.
    • 42 Metascore
    • 50 Ty Burr
    The film's final scenes are among its silliest, unfortunately.
    • 38 Metascore
    • 50 Ty Burr
    Note that it took six writers to come up with the script for The Jungle Book 2. Note that Rudyard Kipling isn't one of them.
    • 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.
    • 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.
    • 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.
    • 27 Metascore
    • 50 Ty Burr
    This new Fog floats in on the fumes of the 1980 John Carpenter original, but the surprise is that it's arguably better.
    • 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.
    • 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.
    • 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."
    • 57 Metascore
    • 50 Ty Burr
    It very much wants to be "Garden State" five years down the line.
    • 43 Metascore
    • 50 Ty Burr
    What’s missing is the assurance of tone that a Lumet would provide.
    • 56 Metascore
    • 50 Ty Burr
    The film squeezes out its feel-good messages like toothpaste from a tube.
    • 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.
    • 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.
    • 40 Metascore
    • 50 Ty Burr
    Something has been lost in the translation, and it's not just the script.
    • 16 Metascore
    • 50 Ty Burr
    An intensely unpleasant killer-thriller mystery.
    • 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.
    • 53 Metascore
    • 50 Ty Burr
    The film is very near a comedy, and I'm not sure that's on purpose.
    • 49 Metascore
    • 50 Ty Burr
    The Mighty Macs sticks so closely to the underdog-sports-movie playbook that it's practically generic.
    • 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.
    • 53 Metascore
    • 50 Ty Burr
    Has a daft sweep, and if you're in the mood for empty swordplay in baroque settings, purple dialogue delivered with straight faces, and romantic yearnings that never, ever resolve, The Promise may be your cup of oolong.
    • 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
    • 46 Metascore
    • 50 Ty Burr
    A heartfelt but muddled melodrama.
    • 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.
    • 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.
    • 69 Metascore
    • 50 Ty Burr
    Wants to be as shocking as its title, but it doesn't have the nerve.
    • 58 Metascore
    • 50 Ty Burr
    The movie is both stunning on the level of visual pageantry and curiously inert as cinema.
    • 38 Metascore
    • 50 Ty Burr
    One of the prime laws of the multiplex states that any action or horror movie series will devolve into ritualized violence, self-mocking camp, and egregious silliness by part three. Blade: Trinity is right on schedule.
    • 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.
    • 57 Metascore
    • 50 Ty Burr
    The problem with Flash of Genius isn't that the subject is dull but that the movie is.
    • 57 Metascore
    • 50 Ty Burr
    The movie looks great and sounds better, and its status as a pioneering work of cinematic eye candy seems secure. For one thing, it's hard to imagine ''Moulin Rouge'' without it. As a movie about recognizable human beings, however, One From the Heart remains a failure.
    • 52 Metascore
    • 50 Ty Burr
    Elsa & Fred does graze against an interesting idea: that the vitality of our youths lives on in the prison of aging bodies.
    • 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.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 50 Ty Burr
    Invites us to both hate King David and admire his style, and there will probably be some hand-wringing about that.
    • 56 Metascore
    • 50 Ty Burr
    What you might call conditional whimsy, predicated on the audience overlooking so many plot implausibilities that it might get tuckered out from all the charity.
    • 42 Metascore
    • 50 Ty Burr
    G
    If the movie's not as bad as it sounds, it's not all that great, either.
    • 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.
    • 52 Metascore
    • 50 Ty Burr
    Visually dazzling and dramatically trite -- it's virtuoso piffle.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Ty Burr
    Scoop is distinctly minor Allen, with less weight to it than one of his old humor doodles in The New Yorker.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Ty Burr
    Movies can convey the fever of new love more intensely than almost any other medium, and Song One is best when it shrinks the world down to James and Franny alone together in a crowded city.
    • 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.
    • 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.
    • 42 Metascore
    • 50 Ty Burr
    Robert Pattinson isn't all that bad in Bel Ami. He just isn't right.
    • 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 problem with Hysteria is that it keeps patting itself and us on the back for knowing better.
    • 60 Metascore
    • 50 Ty Burr
    The movie never fully clicks.
    • 53 Metascore
    • 50 Ty Burr
    The movie is largely set in a busy Paris restaurant, and, not surprisingly, the food looks terrific. You may come out hungry for poached sea bass and a little starved for drama.
    • 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.
    • 44 Metascore
    • 50 Ty Burr
    Gets better -- more rambunctiously astute -- as it goes, and its comic engine sputters into fitful life when Bernie Mac arrives on the scene.
    • 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.
    • 34 Metascore
    • 50 Ty Burr
    It is spectacularly average. Neither an inspired reimagining nor a painful dud,
    • 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.
    • 56 Metascore
    • 50 Ty Burr
    The Rum Diary has been retroactively Hunter S. Thompson-ized. And not for the better.
    • 29 Metascore
    • 50 Ty Burr
    This is one schlockfest that may be enjoyed more by casual viewers than by hard-core fans, since writer-director Paul W.S. Anderson breaks with the established mythology of both properties whenever he feels like it. Like it matters.
    • 33 Metascore
    • 50 Ty Burr
    Taking wobbly aim at our country's complicated love affair with guns, the movie's the very definition of a cheap shot.
    • 60 Metascore
    • 50 Ty Burr
    A watchable disappointment. Sumptuous to look at, tastefully dull, and ultimately rather silly.
    • 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.
    • 50 Metascore
    • 50 Ty Burr
    Even older kids will understand that Pixar does it so much better, not because of their computers but because of an intelligent attention to script and character and craft. If the people running Disney don't understand that much anymore, maybe they should turn out the lights and go home.
    • 52 Metascore
    • 50 Ty Burr
    The film doesn't embarrass itself or dishonor its predecessor, which is something.
    • 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.
    • 49 Metascore
    • 50 Ty Burr
    Still as moth-eaten as a Bengal tiger rug on the floor of a London men's club.
    • 57 Metascore
    • 50 Ty Burr
    A good-natured but terminally mild British mockumentary.
    • 30 Metascore
    • 50 Ty Burr
    Stands to delight small children while probably causing their parents' heads to cave in.
    • 54 Metascore
    • 50 Ty Burr
    Here the foundation has been miscast. That's M-I-S-C-A-S-T.
    • 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
    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.
    • 32 Metascore
    • 50 Ty Burr
    The film eventually collapses under the weight of its no-budget arrogance, but it goes some interesting places beforehand.
    • 42 Metascore
    • 50 Ty Burr
    A muscular Australian B-movie down to the thin characters and boilerplate dialogue.
    • 33 Metascore
    • 50 Ty Burr
    One of those sticky dramas.
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 50 Ty Burr
    In a better movie -- a much better movie -- LaBeouf might make the same sort of impact Dustin Hoffman did in ''The Graduate.'' But the kid's young. There are movies to come.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    So appallingly slipshod in all the usual departments is this sequel to the engaging martial-arts comedy Western ''Shanghai Noon'' that you're tempted to cite its makers for contempt.
    • 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.
    • 38 Metascore
    • 50 Ty Burr
    Like everything in this humorless new genre, "Chronicles" comes with its own snap-together mythology.
    • 51 Metascore
    • 50 Ty Burr
    The production design is swank, the score impassioned. We should be riveted. Instead, you may feel you’ve seen this movie before, and, in a sense, you have: Woman in Gold plays remarkably like 2013’s “Philomena” with a change of cast and a different historical outrage.
    • 61 Metascore
    • 50 Ty Burr
    Haute Cuisine proves the limits of cinema: It’s a movie that needs Taste-o-Vision.
    • 57 Metascore
    • 50 Ty Burr
    It's an actor's film, all right -- peppered with rich supporting performances but unconvincing in the telling.
    • 33 Metascore
    • 50 Ty Burr
    How can you tell the target age for Superhero Movie is exactly 13 1/2 years? Because most of the jokes are Internet-related.
    • 52 Metascore
    • 50 Ty Burr
    Everything about this curio is claustrophobic.
    • 44 Metascore
    • 50 Ty Burr
    Unknown is punchy and entertaining. Maybe not the sort of thing you'd want to spend $10 plus a mortgage for popcorn on, but a nifty surprise on DVD several months from now -- or on pay-cable on-demand right now.
    • 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.
    • 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.
    • 39 Metascore
    • 50 Ty Burr
    There's an interesting movie in here, too, about the isolation of Indian brides brought to a new country by strange new husbands and mistreated, but Provoked rarely ducks below its glossy surface to go there.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 32 Metascore
    • 50 Ty Burr
    Shabbily filmed, thoroughly harmless Official Product.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    The Mist doesn't provoke further thought; it provokes active annoyance at being punished in the service of a pulp morality tale with pretensions.
    • 49 Metascore
    • 50 Ty Burr
    In sum, a big, honking tutti-frutti sundae of a movie that nonetheless is shot through with authentic feeling.
    • 53 Metascore
    • 50 Ty Burr
    Weaver's randy, impatient, very funny performance is the main reason to see Imaginary Heroes.
    • 49 Metascore
    • 50 Ty Burr
    People Like Us is neither optimal nor prime.
    • 49 Metascore
    • 50 Ty Burr
    Turns out to be rather less than the sum of its headlines.
    • 47 Metascore
    • 50 Ty Burr
    Disappointing not for what it is but what it could have been.
    • 25 Metascore
    • 50 Ty Burr
    Deeply, proudly average..."Mean Girls" it's not; a plastic butter knife has more edge. But sometimes it's nice to know your kids won't cut their fingers.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Ty Burr
    The movie's fodder for tweener girls with indiscriminate Nick TV addictions, but there's just enough wit on display to make you realize it could have been worse.
    • 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.
    • 52 Metascore
    • 50 Ty Burr
    A pleasant puff-pastry throwback to Sandra Dee movies, ''Bye Bye Birdie,'' and other pre-Beatles effluvia.
    • 55 Metascore
    • 50 Ty Burr
    The movie has style but increasingly little sense.
    • 57 Metascore
    • 50 Ty Burr
    The immediate problem with making a movie based on Potter's life is that it doesn't seem to have been very interesting.
    • 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.
    • 41 Metascore
    • 50 Ty Burr
    The premise of Agent Cody Banks is more than a little bizarre.
    • 52 Metascore
    • 50 Ty Burr
    The latest installment in the venerable sci-fi action franchise turns out to be a straight-up war film, grim and muscular and thundering and joyless. It's the color of cement, and it weighs as much, too.
    • 43 Metascore
    • 50 Ty Burr
    The movie is decent and heartfelt, and it eventually settles into some sharp diamond action, but the small-town homilies are dropped like an anvil. If you thought 1993's "Rudy" was too spare and unsentimental, Final Season is for you.
    • 49 Metascore
    • 50 Ty Burr
    The final act of Dark Matter is grim but unconvincing, and the shortfall leaves an ugly, exploitive taste in your mouth.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Ty Burr
    As a credible love story, though, the film never leaves the runway. If you're a fan of these actors, you may want to look up Jet Lag when it comes out on video, or catch it on an Air France flight while flirting with the passenger in the next seat.
    • 57 Metascore
    • 50 Ty Burr
    What this dystopia doesn't do is shock. In truth, Code 46 traffics in notions of speculative social fiction that are so familiar by now as to feel disconcertingly normal.
    • 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.
    • 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.
    • 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.
    • 38 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.
    • 46 Metascore
    • 50 Ty Burr
    The result is a curious hash: warmly funny in the comic scenes and shamelessly sentimental during the sad bits, of which there are many.
    • 42 Metascore
    • 50 Ty Burr
    There’s a lot of intelligence in Transcendence. Ironically, almost all of it feels artificial.
    • 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.
    • 45 Metascore
    • 50 Ty Burr
    Buried somewhere within the bipolar extravaganza that is The Invasion is an awfully good movie that got away.
    • 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.
    • 45 Metascore
    • 50 Ty Burr
    It would have been nice if someone had included a script, too.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Ty Burr
    It's predictable fluff, sometimes pleasantly so, at others times irritatingly.
    • 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
    Explicit yet consistently unerotic. It's also intensely sad, capturing everything about these people except the high they ceaselessly chase.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Ty Burr
    This isn't a movie -- it's an author in love with the sound of her own voice.
    • 59 Metascore
    • 50 Ty Burr
    A stylish, watchable, very familiar future-cop action thriller. What was once original is now almost completely derivative.
    • 55 Metascore
    • 50 Ty Burr
    Beautiful to look at and acted with full and tempestuous conviction, it still seems to be taking place in an apartment far across the way.
    • 46 Metascore
    • 50 Ty Burr
    Ideally, it would give you a sense of an entire people knocking the planet off its axis with a shake of their hips. If only El Cantante were that movie. Instead, it's a curiously sludgy cross between a Doomed Star biopic and a J. Lo vanity project.
    • 68 Metascore
    • 50 Ty Burr
    Real satire must be savage, and Four Lions, for all its daring, finally doesn't dare enough.
    • 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.
    • 56 Metascore
    • 50 Ty Burr
    Most useful and enlightening as a historical tour through the major crises of the Kennedy administration.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    Depressingly predictable in its dialogue and dramatic beats, Defiance is most interesting as a study of unlikely leaders.
    • 50 Metascore
    • 50 Ty Burr
    True Story, which leads with its chin from the title on down and which turns a startling tale of true crime and false identities into a heavy-breathing drama that, ironically, fails to convince.
    • 44 Metascore
    • 50 Ty Burr
    It's a B-flick all the way, but it has no pretensions to the contrary, and that's some kind of refreshing.
    • 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.
    • 54 Metascore
    • 50 Ty Burr
    To answer your first question: like a cross between Shrek, the Frankenstein monster, and a Rock 'Em Sock 'Em Robot.
    • 37 Metascore
    • 50 Ty Burr
    The movie demands you be a glutton for sensation and then has the nerve to ask why you're not hungrier.
    • 60 Metascore
    • 50 Ty Burr
    The movie is extremely well produced, it features two excellent lead performances, and it is dull.
    • 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?
    • 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.
    • 45 Metascore
    • 50 Ty Burr
    A movie like this needs a suave, amoral villain, so here's Paul Bettany.
    • 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.
    • 44 Metascore
    • 50 Ty Burr
    The acting makes the difference, and in Jacket it rises above the needs of the material.
    • 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.
    • 51 Metascore
    • 50 Ty Burr
    Hotel for Dogs is agreeable Saturday afternoon multiplex piffle - friendly, formulaic, completely harmless.
    • 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.
    • 43 Metascore
    • 50 Ty Burr
    At its best, the movie's crazy in unexpected and poetic ways; at its worst, merely preposterous.
    • 56 Metascore
    • 50 Ty Burr
    Doesn't have the gonzo wit of ''Re-Animator'' or ''Evil Dead 2,'' nor is it flat-out terrifying like ''The Texas Chainsaw Massacre'' or even a zombie-come-lately like this year's ''28 Days Later.''
    • 45 Metascore
    • 50 Ty Burr
    The question that has to be asked is: Why? The original six-part BBC ''Singing Detective'' remains one of the signal achievements in the history of television -- really -- and its release on DVD this past spring puts it easily within reach of the curious.
    • 30 Metascore
    • 42 Ty Burr
    The movie is too blatant a throwback to crass '80s teen fodder to really work.
    • 35 Metascore
    • 42 Ty Burr
    Proficiently filmed and utterly uninspired.
    • 64 Metascore
    • 42 Ty Burr
    The novel is a sharp, Dickensian comedy; the film is just plain dull.
    • 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.
    • 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.
    • 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.
    • 54 Metascore
    • 38 Ty Burr
    Behind the familiar hits, Jersey Boys is a story about the pressures and rewards of professionalism. Far too little of that has made it into this biopic. It’s just too mediocre to be true.
    • 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.
    • 55 Metascore
    • 38 Ty Burr
    Aggressive visual invention is rarely its own reward, and this movie does nothing to better the odds.
    • 51 Metascore
    • 38 Ty Burr
    All the good intentions in the world can't save White Irish Drinkers from playing like the baldest of retreads.
    • 36 Metascore
    • 38 Ty Burr
    It's another one of those loud, penis-obsessed bro farces, lazily written (by actor Seth Rogen, among others) and haphazardly directed.
    • 52 Metascore
    • 38 Ty Burr
    Meant to be an insider's tale, but it feels like it comes from the cinema of hangers-on.
    • 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
    Sydney White makes "Mean Girls" look like Shakespeare.
    • 52 Metascore
    • 38 Ty Burr
    Wilde is stuck with the harder job of simultaneously playing sexy, innocent, conniving, and heartsore, and the effort appears to give her a headache. "This is kind of like an old movie," Liza says to Jay in one scene. Lady, don't you wish.
    • 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.
    • 27 Metascore
    • 38 Ty Burr
    A dunderheaded comic melodrama with clothes to die for and dialogue to shrink from. It’s downright depressing.
    • 57 Metascore
    • 38 Ty Burr
    I say kill off everybody else and bring back Farrell for the sequel.
    • 39 Metascore
    • 38 Ty Burr
    The results are -- there’s no other word for it -- a disaster.
    • 42 Metascore
    • 38 Ty Burr
    As history it's bunk; as inappropriate historical fiction, it's awfully close to comedy.
    • 62 Metascore
    • 38 Ty Burr
    Despite a frisky soundtrack that starts off with James Brown’s “Sex Machine” — trust me, it’s downhill from there — this is the visual equivalent of Muzak. You don’t have to see it to have seen it.
    • 30 Metascore
    • 38 Ty Burr
    JUST worth your children's time, and hardly worth yours.
    • 33 Metascore
    • 38 Ty Burr
    The feel-bad movie of the summer.
    • 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.
    • 48 Metascore
    • 38 Ty Burr
    She's like Bob Hope with fake breasts and a wig. Now, that's scary.
    • 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."
    • 38 Metascore
    • 38 Ty Burr
    And So It Goes looks like it was shot on outdated video equipment and has a forced, jokey script by Mark Andrus (”As Good As It Gets,” “Georgia Rule”).
    • 57 Metascore
    • 38 Ty Burr
    I could pile on the cooking metaphors until you cried "uncle," but the fact remains that there's a very good movie in here that its makers have failed to bring 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.
    • 66 Metascore
    • 38 Ty Burr
    Sure, go ahead and take the kids. But, for pity's sake, read them the book first.
    • 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.
    • 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.
    • 32 Metascore
    • 38 Ty Burr
    Genially terrible, Lost is lazy, sloppy multiplex filler, good for a few solid giggles and not much more.
    • 36 Metascore
    • 38 Ty Burr
    Abandon is this CLOSE to being good, juicy, bad-movie fun.
    • 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.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 38 Ty Burr
    Butter dearly wants to be a hot-button social satire that plays rough with sacred cows: Midwestern power-moms, the religious right, race, sex, you name it. Mostly, it wants to be an Alexander Payne movie from the 1990s. "Citizen Ruth," say, or "Election." Instead, it's a shrill, cartoonish mess.
    • 39 Metascore
    • 38 Ty Burr
    A "great poet" movie, the poet in this case being Dylan Thomas, and it's utter bollocks.
    • 53 Metascore
    • 38 Ty Burr
    A noisy and lazy stopgap movie that goes absolutely nowhere and takes 2 1/2 hours to get there.
    • 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).
    • 50 Metascore
    • 38 Ty Burr
    Not good enough to take seriously and, sadly, not bad enough to be any fun.
    • 62 Metascore
    • 38 Ty Burr
    Big Eyes may not be Tim Burton’s absolute worst movie — we’ll always have “Planet of the Apes” — but it’s pretty close to the bottom. It’s also the film that reveals his weaknesses as a director and, by their absence, his strengths. Gaudy, shallow, shrill, smug, the movie proves beyond a whisker of doubt that Burton has little interest in human beings unless they can be reduced to cartoons.
    • 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.
    • 48 Metascore
    • 38 Ty Burr
    Works hard to give quirk a bad name.
    • 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.
    • 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.
    • 36 Metascore
    • 38 Ty Burr
    It must have looked great on paper. On screen, it’s a soapy mess that even Joan Crawford in her delusional late-period prime couldn’t save.
    • 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.
    • 47 Metascore
    • 38 Ty Burr
    A torpidly precious love story about death-obsessed adolescents, the film's becalmed and embalmed in its own sensitive self-pity.
    • 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.
    • 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
    The top-secret message this pigeon is carrying reads ''Wait for the DVD."
    • 58 Metascore
    • 38 Ty Burr
    An attempt to turn the 2005 nonfiction bestseller into a high-energy docu-romp, Freakonomics is a misconceived botch.
    • 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.
    • 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.
    • 37 Metascore
    • 38 Ty Burr
    The greater embarrassment is that so many millions of dollars have been wasted on an entertainment that feels so smug, so pointless, and so thunderously empty.
    • 13 Metascore
    • 38 Ty Burr
    Innocuous amusement for 5- to 8-year-olds and other people stuck in the anal stage of development.
    • 37 Metascore
    • 38 Ty Burr
    All that's missing is coherence. Call it Blunderbuss Satire.
    • 43 Metascore
    • 38 Ty Burr
    So unfocused is Shonda Rhimes's screenplay and so flabby is Marshall's direction.
    • 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.
    • 22 Metascore
    • 38 Ty Burr
    Silly, obvious, clumsy, and just gruesome enough to keep jaded genre fans from angrily throwing popcorn at the screen.
    • 34 Metascore
    • 38 Ty Burr
    In Undead, sadly, rigor mortis has set in.
    • 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.
    • 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.
    • 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.
    • 28 Metascore
    • 38 Ty Burr
    There are two problems with A Good Day to Die Hard: It’s terribly filmed and nothing in it makes any sense.
    • 41 Metascore
    • 38 Ty Burr
    Stupid, sadistic, misogynistic, confusing, and more than a little ridiculous. Here’s the thing, though: It keeps you watching, if only to see how tortured the plot or characters are going to get. I’m not sure that “entertainingly awful” is a recommendation, but the shoe fits.
    • 44 Metascore
    • 38 Ty Burr
    It’s clear what MacFarlane is shooting for — nothing less than the chance to be both the Bob Hope and the Mel Brooks of his generation. Be careful what you wish for.
    • 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?

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