For 2,080 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 5.1 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 45 Years
Lowest review score: 0 The Nutcracker
Score distribution:
2080 movie reviews
    • 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
    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
    • 38 Ty Burr
    The Intern is bizarrely retrograde, implying that every working woman only needs a cuddly Yoda daddy to make it in the world of business. It’s soft in the heart — and soft in the head.
    • 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
    • 75 Ty Burr
    There’s no backstage dirt, then — for that, pick up the 2002 “uncensored history” written by Tom Shales and James Andrew Miller — but there is an honest appraisal of the show’s peaks and valleys over the years.
    • 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.
    • 51 Metascore
    • 50 Ty Burr
    Only Jane, as the cop who knows exactly what Mrs. Collins’s wayward daughter needs, has the sense of threat the movie is seeking. His and Woodley’s scenes together are dirty and alive.
    • 51 Metascore
    • 50 Ty Burr
    Hotel for Dogs is agreeable Saturday afternoon multiplex piffle - friendly, formulaic, completely harmless.
    • 51 Metascore
    • 63 Ty Burr
    Just Wright is as formulaic as they come, but at its core is a surprisingly tender romantic drama.
    • 51 Metascore
    • 63 Ty Burr
    Since its maker is one of the least vain of Hollywood actors, it's one that is worthy of indulgence and respect.
    • 51 Metascore
    • 50 Ty Burr
    Even the portrayal of the Hasidic community comes to feel like window-dressing, welcome for its exoticism but never truly understood.
    • 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.
    • 51 Metascore
    • 63 Ty Burr
    Eventually the energy of the original short runs out and the movie coasts on fumes, but it remains surprisingly enjoyable for all that.
    • 51 Metascore
    • 63 Ty Burr
    Bulging with period details and a large and busy cast, Parkland is well made and at times queasily fascinating. At others, it gives in to melodrama and the ticking off of facts.
    • 51 Metascore
    • 50 Ty Burr
    A pall of disaster, in fact, hangs over everyone in this shapeless, hankie-wringing adaptation of the best-selling Jodi Picoult novel.
    • 51 Metascore
    • 63 Ty Burr
    Take the kids at your peril. Mismarketing aside, Step Brothers is crudely funny, which means that sometimes it's crudely hilarious and more often it's just crude.
    • 50 Metascore
    • 42 Ty Burr
    Pakula insists that The Pelican Brief is haute cuisine, and the seriousness nearly wrecks it.
    • 50 Metascore
    • 75 Ty Burr
    Smart, sick, and subversive, Super gives you what you want only to make you wonder why you want it.
    • 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.
    • 50 Metascore
    • 50 Ty Burr
    Little kids, of course, will swallow it whole without thinking twice.
    • 50 Metascore
    • 63 Ty Burr
    This big, brawny historical drama feels more personal to its maker as both an artist and an Australian. For better and for worse, the movie’s a labor of love and of national identification.
    • 50 Metascore
    • 63 Ty Burr
    Scott’s probably the perfect actor for this, since he’s too likably lightweight to suggest any emotion more crippling than exasperation.
    • 50 Metascore
    • 63 Ty Burr
    A movie like Armored has been done better in the past. But it has also been done much, much worse, and Antal knows enough not to mess with the sturdy bones of the thing.
    • 50 Metascore
    • 63 Ty Burr
    If there's one thing Avary gets right, it's the brutal use-or-be-used approach to interpersonal relations that Ellis laid out with numbing detail, and James Van Der Beek is down to the challenge as Sean Bateman: horndog, cokehead, ceramics major, and all-around jerk.
    • 50 Metascore
    • 63 Ty Burr
    One thing's clear: R.J. Reynolds won't be showing Constantine at the company picnic any time soon.
    • 50 Metascore
    • 50 Ty Burr
    Of the two French films opening in the Boston area today - "Beloved" is the other - Little White Lies is the less ambitious, more watchable, and ultimately more annoying.
    • 50 Metascore
    • 63 Ty Burr
    The movie's pleasant and light, though, and its emotional crises are the crust on an acceptably edible crème brulee.
    • 50 Metascore
    • 50 Ty Burr
    At the end, under the closing credits, Freeheld shows us photos of the real Hester and Andree, and we sense an immediacy the rest of the film lacks. These are the people we want to watch and not a movie simulacra, no matter how capably performed and earnestly felt.
    • 50 Metascore
    • 75 Ty Burr
    The results feel a little life lesson-y but also well-earned and well-observed, and Hahn takes advantage of a rare lead role to locate both the ugliness and beauty in her character.
    • 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.
    • 50 Metascore
    • 50 Ty Burr
    That Prom plays as pleasantly and inoffensively as it does is due to the performances, particularly McDonell as the rebellious Jesse.
    • 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.
    • 50 Metascore
    • 63 Ty Burr
    The movie's silly, predictable, and surprisingly sweet - the sort of thing you can and probably should take your mother to.
    • 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.
    • 50 Metascore
    • 63 Ty Burr
    Both despite its familiarity and because of it, Nothing Like the Holidays brings it home for Christmas.
    • 50 Metascore
    • 63 Ty Burr
    You can bet your parrot "Pirates" will be back, even if "At World's End" hasn't the foggiest idea when to quit.
    • 50 Metascore
    • 50 Ty Burr
    It's just another happily idiotic Will Ferrell comedy, ably directed by Jay Roach ("Meet the Parents," "Dinner for Schmucks") and tossing its bawdy jokes at the side of the barn.
    • 50 Metascore
    • 25 Ty Burr
    The overall tone is one of mild Sex Pistols excess combined with Monkees-era high jinks.
    • 50 Metascore
    • 38 Ty Burr
    The larger problem is that the central duo is just plain dull.
    • 50 Metascore
    • 25 Ty Burr
    The Ten is a virtually snicker-free exercise in audience pain. It's less a movie than an endurance test.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 38 Ty Burr
    Not good enough to take seriously and, sadly, not bad enough to be any fun.
    • 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.
    • 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."
    • 50 Metascore
    • 75 Ty Burr
    A hell-for-leather action film with a healthy serving of scares. It really is "Aliens" on the open plains, "Independence Day" for the nation's centennial, and what the movie lacks in originality and stick-to-your-ribs Western authenticity, it makes up for in pell-mell multiplex entertainment.
    • 49 Metascore
    • 50 Ty Burr
    Still as moth-eaten as a Bengal tiger rug on the floor of a London men's club.
    • 49 Metascore
    • 63 Ty Burr
    It's a Tibetan film -- a rare thing -- made by Tibetans, starring Tibetans, and set in the increasingly desperate exile community of Dharamsala .
    • 49 Metascore
    • 50 Ty Burr
    The Mighty Macs sticks so closely to the underdog-sports-movie playbook that it's practically generic.
    • 49 Metascore
    • 63 Ty Burr
    Three things and three things only keep Sex Drive from being teen-comedy landfill. The first is James Marsden, hilarious as the hero's bully-boy big brother. The second is Seth Green, beyond droll as an Amishman with attitude. The third is the Mexican doughnut costume.
    • 49 Metascore
    • 38 Ty Burr
    What it is, distressingly, is a mess - a ragbag of promising ideas and failed narrative, of good acting and plain old bad filmmaking.
    • 49 Metascore
    • 50 Ty Burr
    Turns out to be rather less than the sum of its headlines.
    • 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.
    • 49 Metascore
    • 63 Ty Burr
    Occasionally too pleased with itself, it's also pleasantly unpredictable, and it has a trio of sweet hambone performances at its center.
    • 49 Metascore
    • 50 Ty Burr
    The result is a state-of-the-art multiplex three-ring circus whose special effects stagger the senses and play like a video game, whose human drama aims for the cosmic and lands waist-deep in the Big Silly.
    • 49 Metascore
    • 50 Ty Burr
    The only victims in Paid in Full are the dealers and their families -- and the only word for that is one this paper can't print.
    • 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.
    • 49 Metascore
    • 50 Ty Burr
    People Like Us is neither optimal nor prime.
    • 49 Metascore
    • 63 Ty Burr
    Absolutely not for feminists, lovers of period films, and anyone whose sensibilities are bruised by over-the-top stuntwork, it's a cocktail made up of three parts testosterone to one part brains.
    • 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.
    • 49 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.
    • 49 Metascore
    • 50 Ty Burr
    In sum, a big, honking tutti-frutti sundae of a movie that nonetheless is shot through with authentic feeling.
    • 49 Metascore
    • 88 Ty Burr
    Like a nightmare you recall during waking hours, and then only in its vast outlines, Antichrist has the power to haunt beyond words. For better and for worse, it is exactly the movie von Trier wanted to make and a piece of staggeringly pure cinema.
    • 49 Metascore
    • 63 Ty Burr
    A big, sorrowful, dramatically trite period epic about a bleak chapter in the history of modern France.
    • 49 Metascore
    • 63 Ty Burr
    A faux-low-budget revenge thriller, pure and simple. There's nothing special about it, and that's what's refreshing.
    • 49 Metascore
    • 50 Ty Burr
    The new version is a shiny piece of hardware that might as well be called "Sleuth 2.0," and it's exactly what you would expect from Pinter: very clever, extremely cold. Maliciously entertaining, too, until the halfway point, when you suddenly start wondering why anyone should care.
    • 49 Metascore
    • 63 Ty Burr
    What could have been an effervescent 90-minute experience is so in love with the sound of its own voice that it develops genre trouble and piddles on for two-plus hours.
    • 49 Metascore
    • 63 Ty Burr
    Enjoyable, occasionally grueling, and overstuffed with incident and agenda.
    • 49 Metascore
    • 63 Ty Burr
    Simple without being simple-minded, warm without worrying too much about being cool. It's agreeably silly fare for the very small set and not so noisy that parents can't either follow along or take a quick nap.
    • 49 Metascore
    • 50 Ty Burr
    This is back-to-basics stuff, which turns out to be not such a bad idea.
    • 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.
    • 49 Metascore
    • 63 Ty Burr
    How many bicycling movies are there, let alone ones that know from frame geometry? "Breaking Away" is probably the champ, followed by "American Flyers," the hilariously awful Kevin Bacon bike-messenger movie "Quicksilver," and then we're already into "The Bicycle Thief " and "Pee-wee's Big Adventure." It's a small pack, and The Flying Scotsman rides close to the front by default.
    • 49 Metascore
    • 38 Ty Burr
    Family, sadly, is a plate of leftovers: a bland, baldly written melodrama about two longtime best friends and their messed-up families.
    • 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.
    • 49 Metascore
    • 58 Ty Burr
    Murphy gives a reined in performance that, every so often, shows a spark of the ''Shrek''ish donkey within.
    • 49 Metascore
    • 63 Ty Burr
    That uncertainty -- in the professor, in the audience -- is what drives Emperor's Club to a surprisingly thought-provoking, even disturbing conclusion.
    • 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.
    • 49 Metascore
    • 63 Ty Burr
    Lee’s Oldboy stands on its own. It just stands a bit shorter.
    • 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.
    • 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.
    • 48 Metascore
    • 63 Ty Burr
    A straight-up combat film. Not a very good combat film — it wallows in genre clichés and makes a hash of its action scenes — but one that does get you to empathize with its grunts, the “secret soldiers” of the title.
    • 48 Metascore
    • 63 Ty Burr
    A slick, ripsnorting character drama whose artistic ambitions are consistently neutralized by its commercial imperatives, puts Downey in a box from which even he can’t escape.
    • 48 Metascore
    • 25 Ty Burr
    ''Love" doesn't have a plot so much as it has a concept, scribbled in crayon.
    • 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.
    • 48 Metascore
    • 38 Ty Burr
    It's a working illustration of what differentiates movie stars from TV stars. When we buy a ticket for a George Clooney movie, it's because we want to see George Clooney (or Emma Stone or Tom Hanks or whomever). The real stars of "Glee," on the other hand, are the characters, not the actors.
    • 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.
    • 48 Metascore
    • 63 Ty Burr
    Brad Pitt and Michelle Pfeiffer? Great to look at. Astonishingly dull to listen to.
    • 48 Metascore
    • 63 Ty Burr
    The plot -- it's inspired and ridiculous at the same time -- is best described as "Groundhog Day" meets "Memento."
    • 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.
    • 48 Metascore
    • 63 Ty Burr
    Shiny and peppy, with some solid laughs and dandy vocal performances, but even a small child may sense how forced this movie is -- how hard it tries to be all things to all audiences.
    • 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.
    • 48 Metascore
    • 38 Ty Burr
    Faced with a limited location and concept, Renfroe points his camera everywhere: The movie's seriously overshot, never settling for one angle when five would do.
    • 48 Metascore
    • 38 Ty Burr
    She's like Bob Hope with fake breasts and a wig. Now, that's scary.
    • 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.
    • 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.
    • 48 Metascore
    • 63 Ty Burr
    Parts of it are close to genius; most of it is actively torturous to watch.
    • 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.
    • 48 Metascore
    • 75 Ty Burr
    It's pretty endearing - a low-budget labor of schlock.
    • 48 Metascore
    • 25 Ty Burr
    A miscast, underwritten, drably directed adaptation of a very popular novel, it's the feel-bad film of the summer and an almost perfect example of how not to turn a book into a movie.
    • 48 Metascore
    • 63 Ty Burr
    This gulf between a woman's public and private faces is an intensely rich subject that Rapaport glosses over.
    • 48 Metascore
    • 63 Ty Burr
    Shakhnazarov's film effortlessly captures the times and the author's conflicted yet unyielding attitude, yet it never draws any conclusions -- the film remains under glass.
    • 48 Metascore
    • 75 Ty Burr
    Alive with infectious rhythm, likable characters, and slick dance moves, Step Up gives clichés a good name.
    • 48 Metascore
    • 63 Ty Burr
    Cheerful, skittish entertainment that never takes its subject seriously enough.
    • 48 Metascore
    • 63 Ty Burr
    One soggy slab of sentimental uplift, but it doesn't pretend to be anything else, and there's some honor in that.
    • 48 Metascore
    • 75 Ty Burr
    Stuffed with smart performers doing graciously silly work, and all Levy has to do is manage traffic.
    • 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.
    • 48 Metascore
    • 50 Ty Burr
    Often as noisy, dippy, and enjoyable as 2004's "National Treasure," and when it's not, it's just another sequel, more absurd than most.
    • 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.
    • 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.
    • 48 Metascore
    • 38 Ty Burr
    Works hard to give quirk a bad name.
    • 47 Metascore
    • 63 Ty Burr
    A broad, bawdy, silly French farce set on the Riviera in high season, it's a diversion at best and a strained souffle at worst, but it rings enough Gallic changes on the old family-summer-gone-horribly-wrong genre to deliver some unexpectedly sharp laughs.
    • 47 Metascore
    • 63 Ty Burr
    Low of brow and pure of heart, the movie plays like "Animal House" extra-lite, and as such it's decent indecent fun.
    • 47 Metascore
    • 75 Ty Burr
    A shamelessly enjoyable retread, an ode to la belle vie that has been well turned on a factory spindle.
    • 47 Metascore
    • 63 Ty Burr
    Seems to be exactly the movie Mel Gibson wanted to make as an abiding profession of his traditionalist Catholic faith. On that score it is a success.
    • 47 Metascore
    • 63 Ty Burr
    Good comfort food for most of its running time, thanks to a cast of attractive, unchallenging pros and Ken Kwapis's smooth direction.
    • 47 Metascore
    • 75 Ty Burr
    Revolutions, the final installment in the trilogy, parcels things more neatly. You get 45 minutes of the Wachowskis' patented theosophical bong water, followed by an hour of the most muscular, hard-core special-effects rama-lama yet to hit the screen. Only then does Jesus show up.
    • 47 Metascore
    • 38 Ty Burr
    In the Heart of the Sea plays as if the joke was real and everyone on the production had caved in. The result, as a movie, is a joke.
    • 47 Metascore
    • 38 Ty Burr
    Jennifer’s Body falls into the dispiriting category of dumb movies made by smart people, in this case a glibly clever writer and a talented director who think a few wisecracks are enough to subvert the teen horror genre.
    • 47 Metascore
    • 63 Ty Burr
    Predictable, square, and honorable all at once.
    • 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.
    • 47 Metascore
    • 63 Ty Burr
    The movie's straightforward and ingratiating, and as pretty-boy history lessons go, it's a lot less obnoxious than "Pearl Harbor."
    • 47 Metascore
    • 50 Ty Burr
    Disappointing not for what it is but what it could have been.
    • 47 Metascore
    • 38 Ty Burr
    How's the movie? Technologically incredible, aesthetically pretty hideous, and narratively lumpy: Kids who aren't cynics (i.e., 9 and under) will roll with it.
    • 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.
    • 47 Metascore
    • 63 Ty Burr
    At its best, The Time Traveler’s Wife does suggest the preciousness of a life that’s too often beyond our control. At its worst, it’s more than a little nuts.
    • 47 Metascore
    • 75 Ty Burr
    The film is shot in color and includes an amped-up Danny Elfman version of Bernard Herrmann's haunting score.
    • 47 Metascore
    • 38 Ty Burr
    As it is, the movie only shudders to life when Dickie Pilager's onscreen.
    • 47 Metascore
    • 50 Ty Burr
    Blandly noisy and inoffensively average.
    • 47 Metascore
    • 63 Ty Burr
    While Heaven Is for Real asks a lot of questions, it ultimately has no doubt whatsoever about the answers. Take it on faith or not at all.
    • 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.
    • 47 Metascore
    • 50 Ty Burr
    Monogamy sets up a nifty idea that it doesn't follow through.
    • 47 Metascore
    • 63 Ty Burr
    The movie has its cheesy pleasures, and some of them are even intended. I'm just not sure whether Tom Cruise's impersonation of Axl Rose is one of them. 
    • 47 Metascore
    • 75 Ty Burr
    I don't want to sell Like Mike as something it's not. It's a cash-in, all right - just better written, more tightly edited, sharply performed, and a little more heartfelt than most.
    • 47 Metascore
    • 50 Ty Burr
    One of the most lazily scripted, poorly structured, smugly stereotyped star vehicles in recent memory. Bizarrely, this seems to be the point.
    • 47 Metascore
    • 63 Ty Burr
    The real struggle in The Alamo is between historic revisionism and Hollywood notions of sacrifice, and it's not much of a contest: Hollywood wins, as it did in John Wayne's sprawling, factually spurious 1960 film.
    • 47 Metascore
    • 50 Ty Burr
    It's the sort of thing you'll either find enchanting or an excellent reason to reach for the Scotch.
    • 47 Metascore
    • 63 Ty Burr
    The problem with Semi-Pro is that it keeps forgetting it's a parody of sports movies; the final scenes are supposed to be uplifting (sort of) but they're not fooling anyone. The film's much better when it just lets the guys gas and sass each other.
    • 47 Metascore
    • 63 Ty Burr
    Funnier than any low-rent rip-off of "There's Something About Mary" has a right to be. It's crass, it's unsophisticated, it aims right for the slapsticky pleasure center of the under-30 moviegoer's brain. So sue me, I laughed. A lot.
    • 47 Metascore
    • 38 Ty Burr
    The ugly duckling of Nickelodeon's after-bath lineup. That's its strength.
    • 47 Metascore
    • 50 Ty Burr
    Like many of us who cherish the safe harbor of old movies, Rose and Cary mourn the fact that they don't make 'em like they used to. If they'd paused to ponder why not, they might have a better movie.
    • 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.
    • 46 Metascore
    • 63 Ty Burr
    King Arthur does to this legend what "Troy" did to Homer, with one important difference: It's a better movie.
    • 46 Metascore
    • 38 Ty Burr
    If anything, Burke & Hare is a slaphappy mess that recalls Landis's earliest work on 1970s midnight movies like "Schlock'' and "The Kentucky Fried Movie.''
    • 46 Metascore
    • 50 Ty Burr
    Dawdles amiably and can't quite decide what it wants to be.
    • 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.
    • 46 Metascore
    • 63 Ty Burr
    Maybe The Oranges does represent a middle-age male fantasy, but Laurie lets you see its pitfalls as well as its pleasures.
    • 46 Metascore
    • 50 Ty Burr
    It’s worth remembering that movies can have soul, too, if their filmmakers are willing to do the work to find it.
    • 46 Metascore
    • 58 Ty Burr
    If writer-director Tony Vitale ladles on the cliches with extra sauce, Guido still has a hey-Ma-I'm-makin'-a-movie enthusiasm that's more infectious than it has a right to be.
    • 46 Metascore
    • 50 Ty Burr
    Just a limp, jokey family film that wants to have its fairy tale magic and its hip irony, too.
    • 46 Metascore
    • 63 Ty Burr
    Has something many movies don't these days: interesting and attractive people talking to each other.
    • 46 Metascore
    • 75 Ty Burr
    The movie balances cardboard comic bad-guys with believable teenagers, has the courage to avoid romance, and unlike most Hollywood films suggests parents can be helpful and loving as well as clueless.
    • 46 Metascore
    • 50 Ty Burr
    A heartfelt but muddled melodrama.
    • 46 Metascore
    • 50 Ty Burr
    An acceptable but uninspired simulacrum: an overly faithful multiplex translation of a very, very popular airport novel.
    • 46 Metascore
    • 25 Ty Burr
    Making a comedy that celebrates binge drinking and cretinous behavior isn't a crime against nature. Making one that's as brutally unfunny as Beerfest is.
    • 46 Metascore
    • 63 Ty Burr
    The movie’s a piece of high-octane summer piffle: stylish, funny, brainless without being too obnoxious about it, and Cruise is its manic animating principle.
    • 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.
    • 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.
    • 46 Metascore
    • 38 Ty Burr
    The Last of Robin Hood plays like a laboratory control experiment gone wrong: What would happen if you made a movie with a great cast and terrible everything else?
    • 45 Metascore
    • 63 Ty Burr
    Sweet, smartly acted, and charmingly old-fashioned, Flipped is a minor pleasure that will strike a lot of moviegoers - those who think no one makes movies for them anymore - as a major treat.
    • 45 Metascore
    • 25 Ty Burr
    Pain & Gain, a jokey but fatally tone-deaf true-crime caper, plays like “Fargo” for idiots.
    • 45 Metascore
    • 63 Ty Burr
    Despite the best of intentions, a career-best performance from Kevin Costner, and outstanding work by Octavia Spencer and child actor Jillian Estell, Black or White succumbs to some of the same stereotypes it tries to dispel.
    • 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.
    • 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
    Takers might have made a perfectly decent little B heist movie, but someone had to go and forget to give the cameraman his Ritalin.
    • 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.
    • 45 Metascore
    • 38 Ty Burr
    One aches to think what the great "Looney Tunes" directors could have done with this material.
    • 45 Metascore
    • 50 Ty Burr
    Buried somewhere within the bipolar extravaganza that is The Invasion is an awfully good movie that got away.
    • 45 Metascore
    • 25 Ty Burr
    Me, I'm a Johnny Rotten man, so this limp culture-clash comedy with a heart of patchouli just made me want to stab my eyeballs out.
    • 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.
    • 45 Metascore
    • 50 Ty Burr
    Whatever Works is very minor Woody, querulous, fitfully funny, and removed from any shared reality.
    • 45 Metascore
    • 50 Ty Burr
    A movie like this needs a suave, amoral villain, so here's Paul Bettany.
    • 45 Metascore
    • 63 Ty Burr
    A fertile example of the Studio Film Gone Berserk, where too many characters and too many story lines geometrically progress until a level of blissful absurdity is reached.
    • 45 Metascore
    • 75 Ty Burr
    It's Lopez who's the proper focus of this dream. So intent has she been on becoming a superstar in the past few years that many people have forgotten that, given decent material, she can act.
    • 45 Metascore
    • 63 Ty Burr
    French films have long specialized in depicting the impassioned, go-for-broke infatuation known as l'amour fou. Yann Samuell's Love Me If You Dare may be the first to investigate l'amour annoying.
    • 45 Metascore
    • 63 Ty Burr
    An earnest, simplistic, affecting slice of low-watt indie filmmaking that goes where few American movies bother: below the poverty line.
    • 45 Metascore
    • 38 Ty Burr
    The top-secret message this pigeon is carrying reads ''Wait for the DVD."
    • 45 Metascore
    • 75 Ty Burr
    American Dreamz pitches its softballs with style. Martin Tweed, the preeningly heartless British host of the title TV show, just may be the great comic role that has always eluded Hugh Grant.
    • 45 Metascore
    • 50 Ty Burr
    To press the point, there is absolutely no need for a fourth Pirates of the Caribbean.
    • 45 Metascore
    • 63 Ty Burr
    If it doesn't quite represent the new, improved Adam Sandler, it shows him almost desperately trying to figure out who that might be.
    • 45 Metascore
    • 50 Ty Burr
    Everything in this good-cop/bad-cop action drama is shrouded in gray and attended by wailing. This isn't a feel-good genre, granted, but does it have to feel this bad?
    • 45 Metascore
    • 50 Ty Burr
    Isn't just lame; it's neutered.
    • 45 Metascore
    • 50 Ty Burr
    The results are exactly as patchwork as that sounds, with sequences of rowdy, sacrilegious invention punctuated by long spells of tedium.
    • 45 Metascore
    • 38 Ty Burr
    Watching this movie in 3-D is very much like sticking one's head in a blender and hitting "pulse."
    • 45 Metascore
    • 38 Ty Burr
    Sydney White makes "Mean Girls" look like Shakespeare.
    • 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.
    • 45 Metascore
    • 63 Ty Burr
    At times, Fanboys is every rowdy low-budget '80s road movie you've ever seen on Cinemax at 2 in the morning. What keeps the movie near, if not actually in, hyperdrive is its love of deep-dish geek culture and a gaggle of cameo appearances.
    • 45 Metascore
    • 38 Ty Burr
    When Laura Linney turns up about an hour into The Hottest State, you can see the movie that might have been.
    • 45 Metascore
    • 25 Ty Burr
    A genre cheapie from its digital-video camerawork to its Casiotone soundtrack to its bland, buff cast, the movie is a cultural watershed in a dry gulch.
    • 45 Metascore
    • 63 Ty Burr
    The women of Perry's army will come out feeling they've been well-served, and for the rest of us there's Bassett, getting her groove back after a spate of less than worthy roles. Perry's getting his groove, too - I give him two more films and an A-list cameraman.
    • 45 Metascore
    • 63 Ty Burr
    This is an old-fashioned sports hagiography of the sort that Gary Cooper used to star in while Teresa Wright sat smiling and worried on the sidelines, and, amazingly, it engages your attention and even respect while trotting out every clubhouse cliche in the book.
    • 45 Metascore
    • 50 Ty Burr
    It would have been nice if someone had included a script, too.
    • 45 Metascore
    • 63 Ty Burr
    It's a fearsome and giddily unhinged performance in a movie that isn't entirely sure what to do with it.
    • 45 Metascore
    • 75 Ty Burr
    Expendables is the closest thing to movie Viagra yet invented. It's reprehensible. It's stoopid violent. It's a lot of unholy fun.
    • 45 Metascore
    • 50 Ty Burr
    Those who love police overkill, guns, jingoistic race-baiting, guns, macho smugness, and guns will be well served.
    • 45 Metascore
    • 38 Ty Burr
    Its swooping 3-D visuals let fans briefly feel they can touch a group that barely exists behind a wall of beefy security men.
    • 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.
    • 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.
    • 44 Metascore
    • 38 Ty Burr
    It achieves something previously thought impossible: It renders Billy Bob Thornton unfunny.
    • 44 Metascore
    • 38 Ty Burr
    The director deserves admiration for sticking to her guns, but here's a heretical notion: Maybe the producer's cut would have been a better movie. This version may be too late, but it's also too little, and that's what hurts.
    • 44 Metascore
    • 50 Ty Burr
    Which is precisely what’s missing from Oz the Great and Powerful: that sense of emotional journey.
    • 44 Metascore
    • 50 Ty Burr
    Hot gospel singing and earnest family squabbles are all that distinguish Joyful Noise.
    • 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.
    • 44 Metascore
    • 63 Ty Burr
    "Maybe" was watchable and blandly pleasant; "Theory" is a smidgen better than that, if not the cruelly funny farce the movie's best impulses and its own trailer would have you believe.
    • 44 Metascore
    • 50 Ty Burr
    The acting makes the difference, and in Jacket it rises above the needs of the material.
    • 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.
    • 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.
    • 44 Metascore
    • 25 Ty Burr
    Manages a fairly rare trick: It's a movie that's both deeply felt and completely phony.
    • 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.
    • 44 Metascore
    • 63 Ty Burr
    Delivery Man is predictable but likable, schmaltzy but sweet.
    • 44 Metascore
    • 63 Ty Burr
    Faster is meat-and-potatoes action with a side of crazy.
    • 44 Metascore
    • 50 Ty Burr
    It's ''Hannah and Her Sisters'' with all the emotions and half the artistry.
    • 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.
    • 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.
    • 44 Metascore
    • 63 Ty Burr
    Bring on the bread and circuses. Into the Storm features laughable dialogue, far-fetched situations, and generic characters played by actors who almost look like more famous stars. I still had a blast; and if you lower your resistance, you may too.
    • 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.
    • 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.
    • 44 Metascore
    • 38 Ty Burr
    If not better, a Part II always has to be bigger. In the case of The Hangover Part II, that means raunchier, nastier, darker. It also means much more predictable, which is ruinous.
    • 44 Metascore
    • 63 Ty Burr
    It's painless, especially if you have a small child in tow, and the Rock, bless his heart, acts like it's all new to him. The star should do more comedy - he's got quick reflexes and a face that lends itself to cartoon double takes, and he's not afraid to look completely ridiculous.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Ty Burr
    It’s entertaining enough if you turn your brain off.
    • 44 Metascore
    • 38 Ty Burr
    A glorious disaster.
    • 44 Metascore
    • 50 Ty Burr
    This prompts the perverse thought that By the Sea may simply exist as a movie for Angelina Jolie and Brad Pitt to watch. It’s two hours of vacation, voyeurism, and celebrity marriage therapy, and you and I aren’t actually invited.
    • 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.
    • 43 Metascore
    • 38 Ty Burr
    And that dog -- or, rather, that digitally enhanced replicant -- is just plain creepy.
    • 43 Metascore
    • 38 Ty Burr
    Has a welcome humor but only in theory, and theory, chilly and self-involved, is where this filmmaker seems most at home. Like its bio-digital sirens, the movie never quite comes alive.
    • 43 Metascore
    • 63 Ty Burr
    Simultaneously overplotted and simplistic, the new barnyard/racecourse comedy from Warner Brothers is predictable every step of the way, and it contains at least three too many poop jokes.
    • 43 Metascore
    • 63 Ty Burr
    A movie only a copyright lawyer could love. It strip-mines at least three Hitchcock classics - "North by Northwest," "The Wrong Man," and "The Man Who Knew Too Much" - then commits unlawful assault on Stanley Kubrick's "2001: A Space Odyssey" just for the heck of it.
    • 43 Metascore
    • 50 Ty Burr
    There's a funkier and more interesting movie in Maureen, a character played by Juliette Lewis. Maureen is a single mom, a massage therapist, and a dimwit California follower of every new-age theory out there. She's a nasal, needy wreck, and Catch and Release is torn between adoring her and making ruthless fun of her.
    • 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.
    • 43 Metascore
    • 50 Ty Burr
    It's a smart, provocative idea for a movie. I wish 9 Songs was that movie.
    • 43 Metascore
    • 63 Ty Burr
    It's quite watchable date-night cheese - the kind of movie you can simultaneously snort at and enjoy.
    • tbd Metascore
    • 63 Ty Burr
    This isn't a great movie -- it's barely good, really -- but it gets something about New Hampshire I've rarely seen onscreen: a defiant pride in the way things don't work out. Live Free is a comedy of vastly diminished criminal expectations. That's the fun of it, and the frustration, too.
    • 43 Metascore
    • 50 Ty Burr
    All thing considered, MacGruber’ is a lot better than it should be. That still doesn’t mean it’s all that great.

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