For 2,214 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 4.1 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Mrs Palfrey at The Claremont
Lowest review score: 0 Bratz
Score distribution:
2214 movie reviews
    • 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
    Joy
    The movie’s a shambles, alternatingly agreeable and aggravating, held together by our interest in its heroine and by Lawrence’s tremendously sympathetic performance.
    • 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
    • 63 Ty Burr
    I wish the movie were so good that I could say you have to see it; while Smith’s performance takes on a life of its own, the movie seems locked to its talking points.
    • 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
    • 63 Ty Burr
    She (Portman) has filmed the book according to its emotional meaning to her, and that’s fine. What she hasn’t done is whip it into shape as a compelling movie.
    • 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
    • 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
    • 88 Ty Burr
    A comedy, and for all its cliches and clumsiness, close to a great one.
    • 55 Metascore
    • 63 Ty Burr
    An acceptable time-waster for a slow day in a movie theater or a slow night on cable. But it never makes you mad as hell, so what’s the point?
    • 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
    Legend is more than a gimmick, but not quite enough. The movie’s a testament to the Krays’ ability to get away with everything — for a while, anyway. But it’s better evidence of Tom Hardy’s ability to do just about anything.
    • 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
    • 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
    • 38 Ty Burr
    Hints at a place where desire, fear, pleasure, and power all intersect, but it never actually goes there.
    • 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
    Like Life itself, this alien is nasty, brutish, and short.
    • 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
    • 88 Ty Burr
    Because Demme genuinely likes people and is interested in them, Ricki and the Flash feels like “Stella Dallas” as remade by Jean Renoir — it’s a humanist suburban fable.
    • 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
    • 63 Ty Burr
    It ain’t Shakespeare, or even Kurosawa. But it’s an acceptable remake of a western that itself was an acceptable remake of one of the greatest movies ever made. Enjoyable, even, until the last act proves how dull an overextended gun battle can get.
    • 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
    • 63 Ty Burr
    It's the old-fashioned verities of documentary filmmaking that serve Thomason and Perry best.
    • 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
    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
    • 50 Ty Burr
    Lubezki is arguably this movie’s secret star, and he invests the movie’s Los Angeles settings with the strangeness and newness of a NASA rover traveling across Mars.
    • 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
    • 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
    • 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
    • 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
    • 75 Ty Burr
    The result is rather a mess, but it’s an honorable one, and very much worth wrestling with.
    • 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
    At times in Song to Song, the effect is mesmerizing, mostly when Mara is onscreen in all her tremulous bioluminescence.
    • 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
    • 50 Ty Burr
    Directing the film version, Lee gets lost in the grotesque pomp of the halftime spectacle and its lead-up. He gets fine performances from the actors playing the soldiers and a terrible one from Stewart, who flails her arms like an amateur. Martin’s role is beneath his talents, while Vin Diesel’s, as a Zen warrior of a sergeant, is almost beyond belief.
    • 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
    • 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
    • 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
    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
    • 50 Ty Burr
    The film itself is painless, strained, occasionally amusing, and utterly disposable — just another studio buddy comedy/action movie that forgot where it put the script.
    • 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
    Point is, the property is running on bald tires, and, for all its ear-splitting racket and lavish effects, “Apocalypse” is the barest of retreads.
    • 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
    • 38 Ty Burr
    There’s a reason the movie has been pushed off the back of the truck into late February. It’s damaged goods.
    • 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
    • 75 Ty Burr
    You come away enchanted less by the character than by the woman playing her.
    • 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
    • 63 Ty Burr
    The filmmakers have made this for the purposes of near-term celebration rather than long-term understanding, and they’re probably judging their audience well.
    • 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
    • 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
    • 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
    • 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
    • 63 Ty Burr
    The Accountant keeps you hanging on all the way to the looney-toon ending, well past the point where your higher brain functions have called it a night. It’s not a good movie but it’s not a bad way to kill a few hours.
    • 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
    • 50 Ty Burr
    Mike and Dave Need Wedding Dates lopes along with bumptious likability but no real energy, urgency, structure, or wit.
    • 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
    • 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
    • 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
    • 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
    • 63 Ty Burr
    The 1979 film was both more casual and much darker about the realities and infirmities of old age, and it had one of George Burns’s better performances. It was a funny, touching experience, and it was a bitter pill. The new movie is a placebo, with Hallmark emotions put over by a cast of solid-gold professionals.
    • 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
    • 63 Ty Burr
    What keeps you interested in Demolition is accompanying Davis as he solves the mystery of himself. What keeps you checking your watch is that the character’s not terribly interesting to begin with.
    • 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
    • 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
    • 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
    • 63 Ty Burr
    The movie's an easy, engaging watch, even if it's literally all over the map.
    • 49 Metascore
    • 50 Ty Burr
    Affleck the screenwriter seems to have dumped the story onto the kitchen table and pushed it around like dough, hoping for some shape to emerge. It resists.
    • 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.
    • 85 Metascore
    • 100 Ty Burr
    Ghobadi shows us a world where a village pond can hold both rare goldfish and unforgivable evil, and where every step is onto booby-trapped terrain.
    • 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.

Top Trailers