For 1,997 reviews, this critic has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 5.3 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:
1,997 movie reviews
    • 58 Metascore
    • 75 Ty Burr
    So, no, August: Osage County isn’t all that original, and sometimes it’s just a lot of yelling. But it does rouse itself to a powerful fury every so often, and Letts knows an audience’s dirty little secret: We love the bloodlust of a family feeding on itself.
    • 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.
    • 58 Metascore
    • 63 Ty Burr
    All writers are entitled to tell the story of their own war, whether it's on the battlefield, in their head, or -- as is usually the case -- somewhere in between. Like it or not, Anthony Swofford did just that. Mendes, by contrast, tells the story of a Hollywood war, and it's simply not the news we can use.
    • 58 Metascore
    • 50 Ty Burr
    Does have the enclosed, slightly overheated feel of a family theatrical.
    • 58 Metascore
    • 63 Ty Burr
    Writer-director Richard Curtis (“Love Actually’’) has made a party, not a movie, and if the party goes on much too long, at least the guests are great company and the host’s taste in music is impeccable.
    • 58 Metascore
    • 75 Ty Burr
    In its sneaky, cheeky way, Defamation is a mitzvah, an act of kindness.
    • 58 Metascore
    • 75 Ty Burr
    The performances are excellent, but it’s the direction that lifts the movie up and spins it around. Like Hitchcock, Park storyboards everything ahead of time, and while that level of control might seem claustrophobic in theory, it ends up freeing Stoker to sail into zones of malevolent visual sensuality.
    • 58 Metascore
    • 63 Ty Burr
    The script is by first-timer Randy Brown, but it feels as if it were spit out by one of the assistant GM's computers, so regular are its beats and revelations.
    • 58 Metascore
    • 63 Ty Burr
    Hard Candy is the rare movie that may be worthiest for the arguments you'll have after it's over.
    • 58 Metascore
    • 50 Ty Burr
    Depressingly predictable in its dialogue and dramatic beats, Defiance is most interesting as a study of unlikely leaders.
    • 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.
    • 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.
    • 58 Metascore
    • 63 Ty Burr
    Inventive and enjoyable but ultimately shallow.
    • 58 Metascore
    • 88 Ty Burr
    Stylish and only superficially superficial, Happily Ever After plunks us down with three male friends as they dance on the edge of their 40s.
    • 58 Metascore
    • 63 Ty Burr
    Danny Collins leaves absolutely nothing to chance. The cast is full of sharp little turns by Melissa Benoist — the girlfriend in “Whiplash” and a future Supergirl — and Josh Peck and Katarina Cas, the latter playing Danny’s bubblehead user of a fiancée.
    • 58 Metascore
    • 88 Ty Burr
    A movie called Snakes on a Plane had better be one of two things: So bad it's good or so good it's great. Darned if it isn't a little bit of both.
    • 58 Metascore
    • 75 Ty Burr
    Should be seen: It's a worthy ordeal, with flaws that, ironically, make grist for later arguments.
    • 58 Metascore
    • 75 Ty Burr
    A hardly fair, not especially balanced broadside that has the advantage of being correct.
    • 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.
    • 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.
    • 58 Metascore
    • 75 Ty Burr
    The latest and most creatively unhinged film from director Takashi Miike.
    • 58 Metascore
    • 63 Ty Burr
    Brolin's performance is funny, masterful, confident, and more than a little unsettling. If one human being can sample another, that's what's going on here. The rest of Men in Black 3 is about as good as one could hope for from an unnecessary sequel that's a decade late to the party.
    • 58 Metascore
    • 50 Ty Burr
    The movie is both stunning on the level of visual pageantry and curiously inert as cinema.
    • 58 Metascore
    • 63 Ty Burr
    The downside is that "The Hobbit" no longer looks like a movie at all. It looks like a video.
    • 58 Metascore
    • 63 Ty Burr
    City of Ember lacks the vision and scope of "WALL-E," but it's based on a pretty good kids' book and it makes a pretty good "Twilight Zone" episode, with hope dangling at the end rather than one of Rod Serling's cosmic black jokes.
    • 58 Metascore
    • 63 Ty Burr
    May
    Satisfyingly, May also turns out to be lowdown genre fun, a film that nearly makes up in slacker wit and high-spirited gore what it lacks in budget and elegance.
    • 58 Metascore
    • 38 Ty Burr
    An attempt to turn the 2005 nonfiction bestseller into a high-energy docu-romp, Freakonomics is a misconceived botch.
    • 58 Metascore
    • 63 Ty Burr
    Everything Is Illuminated hasn't been adapted so much as gutted, stuffed, and mounted.
    • 58 Metascore
    • 75 Ty Burr
    So few Hollywood movies go here that this one's oddly welcome, even in its most turgid moments, of which there are many.
    • 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.
    • 58 Metascore
    • 63 Ty Burr
    For all the film's flaws, it has a caustic, nondenominational view of apocalypses to come.
    • 57 Metascore
    • 63 Ty Burr
    Stark eye candy of the first order, the film is saddled with the oldest story this side of "Blade Runner." Still, comic-book fanboys and graphic designers with time to kill should feel no shame in checking this one out.
    • 57 Metascore
    • 75 Ty Burr
    Jarecki's not remotely in Scorsese's league yet, but he knows New York and he has seen the dark soul of man. Maybe next time he won't blink.
    • 57 Metascore
    • 75 Ty Burr
    Crank is an efficient, witty, junkyard dog of an action movie for its first hour. Unfortunately, the script runs out of gas before the hero does. While it's cooking, though, it's violently preposterous fun.
    • 57 Metascore
    • 75 Ty Burr
    To paraphrase the old ad for Levy's rye bread, you don't have to be Jewish to love "Keeping Up With the Steins," but it helps.
    • 57 Metascore
    • 75 Ty Burr
    It's assured and neatly crafted - the time zips by while you're watching it.
    • 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.
    • 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.
    • 57 Metascore
    • 63 Ty Burr
    Color Me Kubrick digs all sorts of devilish ironies out of this "true...ish story," and it's a fine dark farce before turning sad and, worse, monotonous. The con wears off before the movie does, but while it's in the air, "Kubrick" spins with bogus cheer.
    • 57 Metascore
    • 63 Ty Burr
    For a holding maneuver, Thor itself turns out to be diverting enough - not close to a sharp-edged romp like "Iron Man" but not the B-movie roadshow some of us were expecting.
    • 57 Metascore
    • 75 Ty Burr
    It's a genre film - the action is fierce and nonstop - with a brooding undercurrent of unease that aims for the complexities of John le Carre.
    • 57 Metascore
    • 63 Ty Burr
    An elegantly made, almost unbearably depressing tale of WWII-era deprivation and survival.
    • 57 Metascore
    • 63 Ty Burr
    Tidily arranges its raw feelings about fathering and manhood into a decent, intelligent melodrama meant to soothe audiences and provoke no one.
    • 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.
    • 57 Metascore
    • 75 Ty Burr
    A cheerfully rambling documentary that's much more thought-provoking than the sum of its parts.
    • 57 Metascore
    • 63 Ty Burr
    Unashamed about giving its audience a good time, and the high spirits go a long way toward counterbalancing the cliches.
    • 57 Metascore
    • 75 Ty Burr
    As the title character in Albert Nobbs, Glenn Close skulks through Edwardian-era Dublin like a eunuch on a stealth mission.
    • 57 Metascore
    • 50 Ty Burr
    Benton has laid bare a great author's creaky plotting only to deliver a melodrama with bookish pretensions.
    • 57 Metascore
    • 75 Ty Burr
    In general, the more young people who see the film, the more who will be made aware of a fascinating, complicated near-relative whose numbers are dwindling rapidly.
    • 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.
    • 57 Metascore
    • 63 Ty Burr
    Antic, cute, scattershot, it's a remarkable-looking but terribly uncertain bit of CGI fluff, with its richest humor off to the sides of the action and a whole lot of average in the middle.
    • 57 Metascore
    • 75 Ty Burr
    A perfectly enjoyable star vehicle that does exactly what it sets out to do. [7 May 1999, p.66]
    • Entertainment Weekly
    • 57 Metascore
    • 50 Ty Burr
    It's an actor's film, all right -- peppered with rich supporting performances but unconvincing in the telling.
    • 57 Metascore
    • 63 Ty Burr
    It has a naive, heartfelt selfishness that may offend some viewers, and a resolve that others will find intensely soothing. ''Dying's not as easy as it looks,'' cautions Ann's doctor (Julian Richings), but here it's as easy as a movie can make it.
    • 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.
    • 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.
    • 57 Metascore
    • 63 Ty Burr
    For a harmless "Indiana Jones" knock-off, Journey to the Center of the Earth has an awful lot riding on it.
    • 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.
    • 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.
    • 57 Metascore
    • 63 Ty Burr
    Just feels like it was made from the pieces of every fantasy-action movie ever made.
    • 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.
    • 57 Metascore
    • 88 Ty Burr
    A quieter, less melodramatic piece of work than last year's "Crash," and arguably a better one.
    • 57 Metascore
    • 50 Ty Burr
    A good-natured but terminally mild British mockumentary.
    • 57 Metascore
    • 63 Ty Burr
    Morning Glory is itself a work of extreme fluff, a lightweight bauble about the morning-show wars that floats on the updrafts of character comedy until it charmingly self-destructs in the final act.
    • 57 Metascore
    • 50 Ty Burr
    It very much wants to be "Garden State" five years down the line.
    • 57 Metascore
    • 75 Ty Burr
    Harvey is so thin it barely registers as a movie, yet these two actors - British apples and American oranges in their respective approaches to character - almost miraculously weave something memorable out of nothing much.
    • 57 Metascore
    • 38 Ty Burr
    I say kill off everybody else and bring back Farrell for the sequel.
    • 57 Metascore
    • 63 Ty Burr
    LeBeouf may yet mature into an American James McAvoy — a charismatically spineless leading man — but Sarandon and her character have him and his character for lunch.
    • 57 Metascore
    • 50 Ty Burr
    It's a charming disappointment that retains the elements that make the writer's novels so good without ever bending them into cinematic shape.
    • 57 Metascore
    • 63 Ty Burr
    In the end, the problem with movies like Dark Blue is that they willfully ignore the systemic, historical, cultural, and class causes of racism in favor of pinning it all on a few bad apples. Sure, that's entertainment. It's also a lie.
    • 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.
    • 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
    • 75 Ty Burr
    A very good drama about the difficulties of being young, black, and gay. With a bigger budget and a sharper focus, it might have been a great one.
    • 57 Metascore
    • 63 Ty Burr
    As a director, Cahill’s a capable and sometimes breathtaking stylist, and he accomplishes remarkable things on a modest budget, topping up the visuals with patterns, rhymes, and concordances.
    • 57 Metascore
    • 63 Ty Burr
    What’s good about Rubberneck is also what makes it tough to watch: Karpovsky burrows under the skin of this repressed romantic nebbish until the frame seems ready to burst.
    • 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.
    • 57 Metascore
    • 75 Ty Burr
    It pleases me to report, then, that Downey brings his brain, his wit, and his gift for intelligent underplaying, even as he understands he has been hired to play Sherlock Holmes, action hero.
    • 57 Metascore
    • 67 Ty Burr
    This is one of those follies that go beyond pesky, bourgeois notions of ''good'' and ''bad.''
    • 56 Metascore
    • 50 Ty Burr
    The film squeezes out its feel-good messages like toothpaste from a tube.
    • 56 Metascore
    • 63 Ty Burr
    The movie ends on a plaintive can’t-we-all-get-along note, but at heart it’s a Charles Bronson flick. It mashes the revenge button the real world won’t let us push.
    • 56 Metascore
    • 63 Ty Burr
    An earnest drama about the futility of "rescuing" gay men back to Jesus, Save Me presents a paradox: It's an issue drama in which the most compassionately drawn character is on the other side of the issue.
    • 56 Metascore
    • 63 Ty Burr
    Perfume is a pitch-black period epic of squalor and enterprise.
    • 56 Metascore
    • 63 Ty Burr
    So who am I to carp that the film trades in the amiable realism of the show for just another watered-down pop star fantasy? Heck, it beats the Olsen twins. But not by much.
    • 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.
    • 56 Metascore
    • 75 Ty Burr
    Actually, the movie's a better movie than the book was a book, in part because Meyer struggled to put her characters' galloping emotions into print whereas director Catherine Hardwicke just visualizes them in all their inarticulate purpleness.
    • 56 Metascore
    • 88 Ty Burr
    It's an inside-the-park home run -- a small, lovingly overwritten comic drama about fate, failure, and primal longing. To put it in words a Sox fan would understand, the movie hurts good.
    • 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.
    • 56 Metascore
    • 63 Ty Burr
    Winter Passing plays like two indie movies trapped in one film, and Zooey Deschanel is in the better of them. Will Ferrell is in the other one.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Ty Burr
    The movie looks great at least, and the cast includes such stalwarts of Italian cinema as Claudia Gerini and Pierfrancesco Favino.
    • 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.''
    • 56 Metascore
    • 38 Ty Burr
    The result is a revenge thriller that's too taken with its own ambience to actually thrill.
    • 56 Metascore
    • 75 Ty Burr
    A straightforward and rather sane version of the events described in the book and, against all odds, a surprisingly effective movie.
    • 56 Metascore
    • 63 Ty Burr
    The best moments in Watchmen, then, work as delirious music-videos.
    • 56 Metascore
    • 38 Ty Burr
    Diary of a Wimpy Kid the movie returns Kinney's tale to live-action reality, and the party's over.
    • 56 Metascore
    • 63 Ty Burr
    There’s a terrific popcorn movie in Focus — a con-game romantic comedy that bubbles along on a playful high and that keeps the audience guessing in a state of delighted suspension of disbelief. Unfortunately, that movie is over after 40 minutes, and Focus still has another hour or so to go.
    • 56 Metascore
    • 50 Ty Burr
    The movie has a pleasing skinned-knee innocence that makes you wish everything else about it wasn't so shoddy.
    • 56 Metascore
    • 63 Ty Burr
    Writers John W. Richardson, Chris Roach, and Ryan Engle bet that the central hook — Who’s the bad guy? How’s he doing this? — will keep us paying attention. And they’re right.
    • 56 Metascore
    • 63 Ty Burr
    It's a smooth, compelling, almost suspenseful (more on that in a bit), and slightly hollow Hollywood period piece.
    • 56 Metascore
    • 38 Ty Burr
    While there are moments of eldritch atmosphere and a few pro forma jolts, nothing here justifies our attention, let alone the film's inexplicable R rating.
    • 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.
    • 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.
    • 56 Metascore
    • 63 Ty Burr
    '39 Pounds of Love is a heartwarmer that looks away from darker, deeper, and more troubling matters.
    • 56 Metascore
    • 63 Ty Burr
    It’s a handsomely mounted, intentionally claustrophobic film; too claustrophobic over the long haul, with relentless close-ups that constrict the galvanic emotions on display.
    • 56 Metascore
    • 50 Ty Burr
    Most useful and enlightening as a historical tour through the major crises of the Kennedy administration.
    • 56 Metascore
    • 50 Ty Burr
    The Rum Diary has been retroactively Hunter S. Thompson-ized. And not for the better.
    • 56 Metascore
    • 75 Ty Burr
    A multi-character melodrama about the supernatural that's affecting both in spite of and because of its flaws.
    • 56 Metascore
    • 63 Ty Burr
    Pure bangers-and-mash realism: a spotty yet ingratiating working-class farce that suggests a Mike Leigh movie with opera buffa tendencies.
    • 56 Metascore
    • 75 Ty Burr
    Short, suspenseful, funny, and profane, the film's a throwback to the neat little B-level thrillers the entertainment industry used to crank out by the dozen in the post- World War II era and the early days of TV.
    • 56 Metascore
    • 50 Ty Burr
    The loosest, silliest, broadest thing the Coens have yet committed to celluloid, and that includes "Raising Arizona," one of this critic's favorites.
    • 56 Metascore
    • 50 Ty Burr
    At its intermittent best, Troy suggests a primitive pro-wrestling smackdown with epochal consequences. At its worst, it's a throwback to the ham-fisted sword-and-sandal international coproductions of the early 1960s: "The 300 Spartans" with better sets. Barely.
    • 56 Metascore
    • 63 Ty Burr
    Phoebe in Wonderland gradually loses its grip on tone and believability, climaxing with a show-must-go-on moment that's just plain silly. Thankfully, Barnz knows exactly where to end his film: on the face of a girl, and an actress, at the crossroads.
    • 56 Metascore
    • 75 Ty Burr
    Low budget, self-distributed, awkwardly charming, it's the kind of midrange Hollywood entertainment that's supposed to be extinct in this modern age. It makes you want to support your local vintner and your local moviemaker.
    • 56 Metascore
    • 63 Ty Burr
    A problematic memory play, shot through with honey-colored nostalgia, that backs nervously into darker matters.
    • 56 Metascore
    • 63 Ty Burr
    Far from a classic of precision farce, but it's funnier than the trailers make it seem.
    • 56 Metascore
    • 63 Ty Burr
    Pacino, thankfully, is on-screen enough to keep this stew on a solid low boil.
    • 56 Metascore
    • 63 Ty Burr
    The main characters may be refreshingly cliché-free, but almost everyone they meet in Beverly Hills is a stilted cartoon.
    • 56 Metascore
    • 50 Ty Burr
    Everyone in the film is an uninteresting grotesque.
    • 56 Metascore
    • 63 Ty Burr
    If you have to see Monsters vs. Aliens - and if you're a parent, you will have to - make sure it's the 3-D version.
    • 56 Metascore
    • 75 Ty Burr
    Either you'll find the man hilarious -- or he'll seem like one of those awful, tedious comedians who only THINKS he's hilarious.
    • 56 Metascore
    • 63 Ty Burr
    W.
    When it works, W. can take your breath away. When it doesn't, you can feel Stone still working out his feelings toward the man.
    • 56 Metascore
    • 63 Ty Burr
    Rudely silly rather than transgressively shocking, Zack and Miri is the sort of bawdy but fundamentally decent farce you could take Grandma to, provided Grandma were familiar with the oeuvre of Traci Lords.
    • 56 Metascore
    • 63 Ty Burr
    Max
    In the end, the lure of the gimmick proves too much for Meyjes, clearly a writer-director of talent. If Max were half as audacious, it would be twice as good.
    • 56 Metascore
    • 75 Ty Burr
    So spectacularly bent that it exudes a contact cough-syrup high all its own.
    • 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.
    • 55 Metascore
    • 63 Ty Burr
    I’m So Excited! is probably its director’s most forgettable work. But it has its trashy pleasures, and it beats an in-flight movie — the one place you can bet it will never be seen.
    • 55 Metascore
    • 75 Ty Burr
    Here's a film made by grown-ups for grown-ups, on grown-up themes of statelessness and belonging. Yet you could show it to a 6-year-old and have him or her understand all the nuances of plot and characterization.
    • 55 Metascore
    • 63 Ty Burr
    Snyder knows how to put on a show, and Man of Steel has a massive scope that’s hard to resist... But what’s missing from this Superman saga is a sense of lightness, of pop joy.
    • 55 Metascore
    • 75 Ty Burr
    Shockingly, the new film turns out to be very good, at times close to brilliant: a darkly detailed marvel of creative visualization that does well by Dickens and right by audiences - when it’s not trying to sell them a theme park ride.
    • 55 Metascore
    • 75 Ty Burr
    Anne Hathaway's Jane is headstrong and clever, balanced and true.
    • 55 Metascore
    • 58 Ty Burr
    If you can stagger around the plot holes (how'd a Brazilian cargo ship with a dead crew get to Lake Michigan?), the last 30 minutes are pure, dumb monster-movie fun.
    • 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.
    • 55 Metascore
    • 63 Ty Burr
    Unlike "Tree" or "2001," Cloud Atlas offers more answers than it does questions, and by the end of its nearly three-hour running time - which flies by surprisingly fast, all things considered - it feels like the most feverishly expensive late-night college bull session ever. There are glories here, but they fade in the light of day.
    • 55 Metascore
    • 38 Ty Burr
    I don't know if I've ever seen a movie as spectacularly tone-deaf as Hyde Park on Hudson.
    • 55 Metascore
    • 75 Ty Burr
    Tim Burton has got his groove back.
    • 55 Metascore
    • 63 Ty Burr
    Watching Eagle vs Shark is like sitting next to a terminally awkward first date at a restaurant. You cringe and feel protective toward the poor, sweet dweebs at the same time.
    • 55 Metascore
    • 63 Ty Burr
    By itself, the new "Pelham" is a solid, suspenseful tale all over again, so long as it stays in the subway tunnels and airless offices of the transit department.
    • 55 Metascore
    • 88 Ty Burr
    A comedy, and for all its cliches and clumsiness, close to a great one.
    • 55 Metascore
    • 50 Ty Burr
    At its strongest cataloging the sheer sensory overkill of the festival -- the faces, the food, the many roads to bliss. Only the slightest historical information is offered and no spiritual background whatsoever.
    • 55 Metascore
    • 63 Ty Burr
    What's missing here is the one thing any duffer knows you need: Focus. The Greatest Game Ever Played works so hard to convince you of the truth of its title that it never settles down to address the ball.
    • 55 Metascore
    • 75 Ty Burr
    It’s the best Tyler Perry movie to date - the writer/director/actor/mogul’s most confident and competent mixture of uplifting black middle-class melodrama and low-down comedy.
    • 55 Metascore
    • 75 Ty Burr
    Because its gaze is so level and so unyielding, it stands as one of the better dramatic films made on this subject (although it's not nearly as fine as Louis Malle's "Au Revoir les Enfants."
    • 55 Metascore
    • 50 Ty Burr
    Contains more than its share of implausibilities and absurdities.
    • 55 Metascore
    • 50 Ty Burr
    The movie has style but increasingly little sense.
    • 55 Metascore
    • 63 Ty Burr
    The finest scene in Don't Come Knocking is its quietest...The movie could have used a lot more of it.
    • 55 Metascore
    • 63 Ty Burr
    8- to 12-year-olds will have a good time, and you'll have a good time watching them have a good time. Otherwise, the film's an oddity.
    • 55 Metascore
    • 63 Ty Burr
    Charming, if terribly overstuffed, vision of romantic London gridlock.
    • 55 Metascore
    • 63 Ty Burr
    Stealing the movie, however, is rapper Snoop Dogg as Huggy Bear, the pimp/informant originally portrayed by Antonio Fargas on the TV show.
    • 55 Metascore
    • 63 Ty Burr
    At 40, Mastroianni is looking more and more like her father, Marcello Mastroianni. She has his eyes and that air of existential befuddlement, and she's beginning to suggest the magnificent ruin he became in his later career.
    • 55 Metascore
    • 63 Ty Burr
    It's a fine line between interesting characters and "Northern Exposure" quirk, but the movie mostly stays on the right side of it.
    • 55 Metascore
    • 63 Ty Burr
    At the very least, Agora finally gives Rachel Weisz a role that almost exactly matches her intense, humorless, but undeniable star charisma.
    • 55 Metascore
    • 88 Ty Burr
    Among the most insane mainstream movies ever released.
    • 55 Metascore
    • 50 Ty Burr
    Bra Boys uses reenactments to make the case that Jai acted in self-defense, but the tactic comes off cheap and unconvincing. Worse, the director never bothers to talk to anyone outside the tight coterie of insiders. Why should he when his brothers' freedom is at stake?
    • 55 Metascore
    • 38 Ty Burr
    Hopefully the last, of the fake trailer spinoffs of 2007's "Grindhouse." It makes last year's "Machete" look like "The King's Speech."
    • 55 Metascore
    • 63 Ty Burr
    If product proves especially difficult to swallow, take with a grain of salt and three or more alcoholic drinks, or wait until such time as active ingredients Hathaway and Gyllenhaal have been more effectively utilized elsewhere.
    • 55 Metascore
    • 75 Ty Burr
    Does what an exploitation movie should: It gets in, it scares you silly, and it gets out, all while playing fair by the audience.
    • 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.''
    • 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
    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.
    • 55 Metascore
    • 38 Ty Burr
    Aggressive visual invention is rarely its own reward, and this movie does nothing to better the odds.
    • 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.
    • 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.
    • 55 Metascore
    • 38 Ty Burr
    Hints at a place where desire, fear, pleasure, and power all intersect, but it never actually goes there.
    • 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.
    • 55 Metascore
    • 63 Ty Burr
    The movie runs into its deepest trouble with its depiction of Lilly's captors. After years of Hollywood wooden Indians and a more recent run of tribal angels (as in "Dances With Wolves"), movies like "The Last of the Mohicans" have acknowledged the historical truth that Native Americans could be as bloody-minded as their white conquerors.
    • 55 Metascore
    • 75 Ty Burr
    Even if you think Cruise has never had a moment of doubt in his life, he makes Nathan's self-loathing palpable, and the character's regeneration has a hoarse, cautious purposefulness that's striking.
    • 55 Metascore
    • 63 Ty Burr
    It has in Leonardo DiCaprio — magnificent is the only word to describe this performance — the best movie Gatsby by far, superhuman in his charm and connections, the host of revels beyond imagining, and at his heart an insecure fraud whose hopes are pinned to a woman.
    • 54 Metascore
    • 63 Ty Burr
    Handsomely shot and edited, The Bank benefits greatly from the brutal ministrations of LaPaglia,
    • 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.
    • 54 Metascore
    • 50 Ty Burr
    Above all, it is predictable.
    • 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.
    • 54 Metascore
    • 63 Ty Burr
    It’s a simple story, really, but Nair mucks it up with the hot-button suspense of the framing scenes: surging crowds and rooftop standoffs, panicky cellphone calls and crackling walkie-talkies.
    • 54 Metascore
    • 63 Ty Burr
    A charming but terribly self-indulgent trifle that's less than the sum of its many parts.
    • 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.
    • 54 Metascore
    • 63 Ty Burr
    Snow Cake is dazlious, too: overly forced, a shade too whimsical, but filling a void other words and other movies haven't the nerve or errant taste to confront.
    • 54 Metascore
    • 63 Ty Burr
    Neither rare nor particularly well done. If you're looking for Danish meatballs served on dark wry, though, you could do worse.
    • 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.
    • 54 Metascore
    • 50 Ty Burr
    Here the foundation has been miscast. That's M-I-S-C-A-S-T.
    • 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.
    • 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.
    • 54 Metascore
    • 63 Ty Burr
    Humor in 'Jim' is a little too dry.
    • 54 Metascore
    • 63 Ty Burr
    See Steve McQueen’s “Shame” (2011) if you want a sense of how destructive this sickness can be to the soul. See Thanks for Sharing if you want to know what people can do about it.
    • 54 Metascore
    • 50 Ty Burr
    The chief culprits are Townsend's TV-movie characterizations and a very muddled message.
    • 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.
    • 54 Metascore
    • 63 Ty Burr
    The film version of Memoirs of a Geisha is very like a geisha itself: a thing of exquisitely refined surfaces beneath which beats an ordinary heart.
    • 54 Metascore
    • 38 Ty Burr
    Zwigoff's overdue for a turkey, in other words. Art School Confidential is it.
    • 54 Metascore
    • 63 Ty Burr
    10 Items or Less is nearly an acting class exercise, except for the fact that these two have long since graduated.
    • 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.
    • 54 Metascore
    • 63 Ty Burr
    If Woody Allen were a young, attractive gay woman, he might make something like this, or so Maggenti hopes. But it would probably be funnier, and it would definitely cut deeper.
    • 54 Metascore
    • 63 Ty Burr
    The movie errs by turning Max into a figure of hangdog sympathy: "The 40 Year Old Virgin" with a shoe phone.
    • 54 Metascore
    • 63 Ty Burr
    The film, like the tour it documents, wallops you in the face with politics.
    • 54 Metascore
    • 63 Ty Burr
    Filmed with panache, wit, chic amorality, and an inexhaustible supply of Micro Uzi ammunition, ''Killer'' nevertheless represents a baroque dead end for the Hong Kong action genre.
    • 54 Metascore
    • 75 Ty Burr
    Think low-budget ''Moonstruck'' but think again: A regional dish in the most heartwarming sense.
    • 54 Metascore
    • 50 Ty Burr
    Leave it to the French to take the joy back out of sex. The high-minded erotic drama Exterminating Angels has heat but little light; it speaks of pleasure while treating it as a dirty word. The cast huffs and puffs but the exercise, sadly, remains academic.
    • 54 Metascore
    • 63 Ty Burr
    The movie’s a platypus: cute as the dickens but what the heck is it?
    • 54 Metascore
    • 25 Ty Burr
    Essentially, an act of terrorism against entertainment. It's inconsequential, potty - mouthed, extremely silly, and -- the worst sin of all -- dead boring.
    • 54 Metascore
    • 88 Ty Burr
    Watching Gus Van Sant's Gerry is the cinematic equivalent of watching paint dry. I mean that as high praise.
    • 54 Metascore
    • 83 Ty Burr
    The improvisations are a mixed bag -- Reed and Fox are surprisingly hilarious, while Roseanne is a shrieking horror show -- but the air of gentle play and a wistful sense that Brooklyn is some kind of lost Eden put this one up on the more structured "Smoke."
    • 54 Metascore
    • 75 Ty Burr
    The movie's not even close to Pixar standards - the animation is slapdash and the story construction's a mess - but the vibe is loose-limbed and fluky, and the gags have an extra snap that's recognizably Seinfeldian.
    • 54 Metascore
    • 63 Ty Burr
    One for the fans, even though writer-director Rodger Grossman and co-writer Michelle Baer Ghaffari labor mightily to spin it into something larger.
    • 54 Metascore
    • 75 Ty Burr
    In pace, sensibility, and big, beating heart, this is a child's first indie film, and it's the better for it.
    • 54 Metascore
    • 63 Ty Burr
    At its worst, Vacancy is merely the kind of taut B-chiller they don't make any more, other than to riff on them in "Grindhouse."
    • 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.
    • 53 Metascore
    • 50 Ty Burr
    You have an overstuffed story line, sloppy filmmaking, a general thinness of conception (if you've seen "Sister Act," you've pretty much seen The Fighting Temptations), and a lead performance that starts out obnoxious and becomes actively grating.
    • 53 Metascore
    • 63 Ty Burr
    It's the old-fashioned verities of documentary filmmaking that serve Thomason and Perry best.
    • 53 Metascore
    • 63 Ty Burr
    And again things go bump and eventually yarrrragghhh in the night.
    • 53 Metascore
    • 38 Ty Burr
    Be warned, though: This is the multiplex equivalent of ADD.
    • 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
    • 63 Ty Burr
    If anything, The Big Year plays like Ron Howard's "Parenthood'' with birds instead of children.
    • 53 Metascore
    • 50 Ty Burr
    The film is very near a comedy, and I'm not sure that's on purpose.
    • 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.
    • 53 Metascore
    • 50 Ty Burr
    The film is unobjectionable, sentimental, and not a little dull.
    • 53 Metascore
    • 63 Ty Burr
    "Unpredictable'' is one adjective you could use to describe the new Audrey Tautou movie, Delicacy. Others might be "charming,'' "offbeat,'' "droll.'' "Unfocused'' and "underwhelming'' also apply.
    • 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.
    • 53 Metascore
    • 63 Ty Burr
    A proficient, atmospheric fangfest that does nothing you haven't seen before but still does it passably well.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 63 Ty Burr
    The most original thing about Lucky Number Slevin is that it lets Lucy Liu play a screwball heroine.
    • 53 Metascore
    • 63 Ty Burr
    A stylish but essentially businesslike smash-and-crasher.
    • 53 Metascore
    • 75 Ty Burr
    This Robin Hood is mostly a smart, muscular entertainment; it doesn’t breathe new life into a genre as did “Gladiator,’’ Scott’s first pairing with Russell Crowe, but it’s a brawny reimagining of a beloved old myth, a period popcorn movie turned out with professionalism and gusto.
    • 53 Metascore
    • 63 Ty Burr
    A blood-smeared and almost completely scurrilous love letter to anyone who ever appeared in the junk movies of the '60s through '80s.
    • 53 Metascore
    • 67 Ty Burr
    Relaxed, valedictory, exquisitely titled, Grumpy Old Men feels like an odd couple's last hurrah.
    • 53 Metascore
    • 50 Ty Burr
    Weaver's randy, impatient, very funny performance is the main reason to see Imaginary Heroes.
    • 53 Metascore
    • 63 Ty Burr
    The point of "the official Muslim comedy tour" is that these guys are ordinary Americans just like you and me. Unfortunately, that extends to a lot of the jokes.
    • 53 Metascore
    • 75 Ty Burr
    Turns out to be thoughtful, creative, and generally worthy of its subject, with sins that are more of ambition and miscalculation than of execution.
    • 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?
    • 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.
    • 53 Metascore
    • 75 Ty Burr
    What makes Palindromes bearable is that Solondz has yet to come up with an answer.
    • 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.
    • 53 Metascore
    • 50 Ty Burr
    The problem with Hysteria is that it keeps patting itself and us on the back for knowing better.
    • 53 Metascore
    • 50 Ty Burr
    A Good Woman is pretty to look at and fakes witty elegance passably, so consider it a diversion -- a movie that might have been in the Oscar race if the elements had jelled but has instead been properly hung out to dry in February.
    • 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.
    • 53 Metascore
    • 75 Ty Burr
    It has its own bizarre charms and a breezy confidence that renders it the very definition of a simple pleasure.
    • 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.
    • 53 Metascore
    • 63 Ty Burr
    Luhrmann is working a tricky game: He's trying to come to terms with modern Australia's racist legacy while telling a ripping yarn while also making fun of ripping yarns - but not too much.
    • 53 Metascore
    • 38 Ty Burr
    Too many cliches and not enough energy have come along for the ride.
    • 53 Metascore
    • 63 Ty Burr
    Formulaic but extremely good-natured comedy.
    • 53 Metascore
    • 63 Ty Burr
    Astro Boy alternately soars and sputters through a story line that’s not quite sure who it’s aimed at.
    • 53 Metascore
    • 63 Ty Burr
    At its best, Year of the Fish makes a virtue of naivete - its heroine's, its director's, and the fragile fairy-tale belief that everyone deserves a happy ending.
    • 53 Metascore
    • 38 Ty Burr
    A noisy and lazy stopgap movie that goes absolutely nowhere and takes 2 1/2 hours to get there.
    • 53 Metascore
    • 63 Ty Burr
    This loopy slacker horror farce is so intent on playing with your head — and time, and space, and paranoid conspiracy theories — that it doesn’t care about making sense. Which doesn’t stop the film from being a pretty good bad time.
    • 53 Metascore
    • 38 Ty Burr
    The new Carrie is a thoroughly dispiriting remake — “retread” is the appropriate word — that could have been directed by any proficient Hollywood hack.
    • 52 Metascore
    • 63 Ty Burr
    In a real sense, Nativity Story is the female other to Gibson's "Passion": Dedicated to life rather than death, it's suffused with a sense of the womanly divine.
    • 52 Metascore
    • 75 Ty Burr
    This is all far beyond silly, of course - the most inconsequential sort of winking, meta-movie in-joke.
    • 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.
    • 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
    • 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.
    • 52 Metascore
    • 63 Ty Burr
    What was intended as a tart elegy for a vanished way of life becomes a valedictory to a certain kind of filmmaking: beautifully appointed, intelligently played, and civilized into inertia.
    • 52 Metascore
    • 63 Ty Burr
    Fay Grim falls victim to its own worried hyperactivity; it shuts you out with chattery paranoia. Hartley wants us to see the big picture, but he forgets we need artists like him to bring it into focus.
    • 52 Metascore
    • 38 Ty Burr
    The Gospel of John is to "The Passion of the Christ" as tap water is to parboiled sacramental wine.
    • 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
    • 63 Ty Burr
    How deeply silly is The Lake House? As silly as a movie about two letter-writing lovers separated by a wrinkle in time can be. How much sweet, dumb fun is it? More than you might want to admit.
    • 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
    • 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.
    • 52 Metascore
    • 25 Ty Burr
    The Women on the 6th Floor is delicate and sensitive and utter bollocks - a bourgeois wet dream made to soothe the souls and stir the loins of powerful men in midlife crisis. But some of us wish we could see this movie told from the maids' point of view.
    • 52 Metascore
    • 50 Ty Burr
    Visually dazzling and dramatically trite -- it's virtuoso piffle.
    • 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.
    • 52 Metascore
    • 63 Ty Burr
    An inspirational sports movie, soccer subdivision, and it stops at every expected station of the cross on its road to the triumphant against-all-odds finale (in sudden-death overtime, yet). Yet it also feels appealingly handmade in a way most jock dramas don't.
    • 52 Metascore
    • 63 Ty Burr
    There's grace here if the movie were willing to dig for it. Occasionally it does.
    • 52 Metascore
    • 63 Ty Burr
    Scott’s “Exodus” is dutiful, deeply earnest, and more than a little dull.
    • 52 Metascore
    • 50 Ty Burr
    You may have to be from Iceland to take dialogue like ''You can't freeze love like a gutted fish'' with a straight face.
    • 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.
    • 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.
    • 52 Metascore
    • 38 Ty Burr
    It's a solid short film stretched to Silly Putty thinness.
    • 52 Metascore
    • 38 Ty Burr
    An overstuffed turkey that's entertaining for all the wrong reasons.
    • 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.
    • 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
    • 75 Ty Burr
    I can promise you a fairly good thriller with mixed-bag elements: preposterous plot, smartly elegant direction, one of the worst recent performances by a major actress, and a dynamite stick of an action scene that can stand close to the greats (the car chase in "The French Connection," the single-take battle sequence in "Children of Men") and from which the movie never really recovers.
    • 52 Metascore
    • 75 Ty Burr
    Susan Stroman directed the show on Broadway and what she has done here is photograph that show -- no more, no less. This is good news for anyone who couldn't afford a trip to New York and $100 tickets, but it's a fairly odd approach to cinema.
    • 52 Metascore
    • 50 Ty Burr
    Very broad and very silly, it's a doodle of a comedy -- a one-joke idea (fat guy goes luchador) padded out to feature length by Black's willingness to do anything for a laugh.
    • 52 Metascore
    • 75 Ty Burr
    You come away enchanted less by the character than by the woman playing her.
    • 52 Metascore
    • 50 Ty Burr
    A pleasant puff-pastry throwback to Sandra Dee movies, ''Bye Bye Birdie,'' and other pre-Beatles effluvia.
    • 52 Metascore
    • 50 Ty Burr
    Everything about this curio is claustrophobic.
    • 52 Metascore
    • 63 Ty Burr
    Music and nostalgia are what fuel all this filmmaker's movies, though, even a half-baked translation like this one.
    • 52 Metascore
    • 38 Ty Burr
    The movie’s a somber affair, but if you see it in the right frame of mind, it’s the guilty-pleasure hoot of the season.
    • 52 Metascore
    • 38 Ty Burr
    So this is the little movie that caused the big fuss. And little it is, a dopey bro-com that piddles along delivering mild laughs until it turns overly, unamusingly bloody in the climactic scenes.
    • 52 Metascore
    • 50 Ty Burr
    The film doesn't embarrass itself or dishonor its predecessor, which is something.
    • 52 Metascore
    • 63 Ty Burr
    It’s all a big, gluey metaphor for a girl’s sexual fears and raging mom conflicts, and, as in “Twilight,” the metaphor itself gets buried under mounting waves of CGI nonsense and a ridiculous back story about reincarnated Civil War lovers.
    • 51 Metascore
    • 63 Ty Burr
    At times you feel Weitz flipping the pages and dog-earing wildly, and that's a shame: This is a movie that needs to be lengthy and discursive, the better to duck into the back alleys of its invention. A visionary is required. This director isn't one.
    • 51 Metascore
    • 63 Ty Burr
    An absurd mess that's more entertaining than it has any right to be.
    • 51 Metascore
    • 75 Ty Burr
    Against the odds, John Carter is itself pretty amazing - an epic pulp saga that slowly rises to the level of its best imitations and wins you over by degrees.
    • 51 Metascore
    • 63 Ty Burr
    The new version is completely unnecessary and sloppier than it should be. It’s also still funny, partly thanks to smart casting in a few key roles and partly because farce this ironclad cannot be denied.
    • 51 Metascore
    • 63 Ty Burr
    A classy unintentional hoot.
    • 51 Metascore
    • 63 Ty Burr
    It's notable for some astounding urban wildlife footage and for the way it unintentionally reflects the giddy narcissism of the primate known as homo sapiens.
    • 51 Metascore
    • 63 Ty Burr
    Lightweight yet alluring.
    • 51 Metascore
    • 38 Ty Burr
    The film pulls off the remarkable feat of immersing a viewer in their world without providing any insights whatsoever.
    • 51 Metascore
    • 63 Ty Burr
    The result isn’t a great movie, but it is an excellent guilty pleasure.
    • 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.
    • 51 Metascore
    • 50 Ty Burr
    Glib, fast-paced entertainment that barely leaves a mark - which, given the subject, is just plain wrong.
    • 51 Metascore
    • 12 Ty Burr
    Finding Amanda, unfortunately, is one vast, irritating surface.
    • 51 Metascore
    • 50 Ty Burr
    Wonderful characters, these three, and The Hard Word never figures out what to do with them.
    • 51 Metascore
    • 50 Ty Burr
    Adding to the general air of ''What the hell?'' is Australian pop singer Natalie Imbruglia as Lorna, the beautiful superspy who falls for our hero. With Lorna's help, Johnny discovers that Sauvage is plotting to take over the British throne -- the Battle of Hastings wasn't good enough, it seems.
    • 51 Metascore
    • 63 Ty Burr
    The movie's amiable, impulsive, intense, and scattershot, and since those are qualities associated with Vaughn himself, in the end it's a fair representation.
    • 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.
    • 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.
    • 51 Metascore
    • 63 Ty Burr
    A chilly inquest into very bad behavior, Savage Grace is presented to us like an entrée at a five-star French restaurant. It's decadence under glass.
    • 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.
    • 51 Metascore
    • 63 Ty Burr
    A noble, shipwrecked folly.

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