For 1,905 reviews, this critic has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 5.3 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Reservoir Dogs
Lowest review score: 0 Gigli
Score distribution:
1,905 movie reviews
    • 68 Metascore
    • 63 Ty Burr
    The new movie's a visual achievement and a narrative muddle: A color-drenched story of lust, love, and infidelity, it suffers from a vagueness that may be the point but that feels accidental.
    • 62 Metascore
    • 63 Ty Burr
    The best scenes are when Stark just cuts impatiently through the claptrap.
    • 57 Metascore
    • 63 Ty Burr
    Just feels like it was made from the pieces of every fantasy-action movie ever made.
    • 68 Metascore
    • 63 Ty Burr
    What the movie utterly fails to resolve is what François Ozon is up to here and where he's going next.
    • 72 Metascore
    • 63 Ty Burr
    What appears at first to be a Euro variation on David Lynch's patented mind games, though, ultimately settles for more conventional pleasures. The movie makes sense, more's the pity, although you may need to see it twice to figure out how.
    • 43 Metascore
    • 63 Ty Burr
    It's quite watchable date-night cheese - the kind of movie you can simultaneously snort at and enjoy.
    • 61 Metascore
    • 63 Ty Burr
    The best thing that can be said about The Bourne Legacy is that Renner will survive it.
    • 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.
    • 65 Metascore
    • 63 Ty Burr
    This is not a bad movie, and to small children it will be a very good one. But it is closer to average than one would wish from the company that gave us “Up,” “Wall-E,” “The Incredibles,” and “Toy Story 3."
    • 80 Metascore
    • 63 Ty Burr
    At the technical level, The Secret World of Arrietty isn't as ambitious as the studio's finest work, and the animation is stronger on texture than detail.
    • 58 Metascore
    • 63 Ty Burr
    Brolin's performance is funny, masterful, confident, and more than a little unsettling. If one human being can sample another, that's what's going on here. The rest of Men in Black 3 is about as good as one could hope for from an unnecessary sequel that's a decade late to the party.
    • 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. 
    • 69 Metascore
    • 63 Ty Burr
    Eventually it straightens out into a fast, funny, emotionally resonant story about mothers and daughters, but it takes a while to get there and it's never less than weird.
    • 74 Metascore
    • 63 Ty Burr
    The end result's a muddle and a good argument for why actors shouldn't direct themselves first time out. Farmiga's a generous and observant performer, but she lacks a shaping hand, not to mention the ruthlessness that's probably a necessity for any director.
    • 62 Metascore
    • 63 Ty Burr
    The First Beautiful Thing is the kind of movie - that escapes the sick room to cavort at carnivals and eat cotton candy until the inevitable relapse.
    • 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.
    • 61 Metascore
    • 63 Ty Burr
    What Trollhunter isn't is particularly scary, but in its defense, it's not trying to be.
    • 65 Metascore
    • 63 Ty Burr
    Writer-director Djo Tunda Wa Munga deplores the corruption, gunplay, and oversexed misogyny plaguing his country - and he's going to show you as much of it as possible before the end credits roll.
    • 76 Metascore
    • 63 Ty Burr
    The man's mythology precedes him, and it's the movie's failing that we don't understand how or whether he uses that mythology because he knows it's good business.
    • 66 Metascore
    • 63 Ty Burr
    Another Earth is being sold as an indie sci-fi drama, but that does both the movie and its proper audience a disservice. This muted story of atonement, forgiveness, and parallel universes is more of an extended metaphor - a work of earnest poetry rather than science.
    • 72 Metascore
    • 63 Ty Burr
    The movie struggles to find its shape throughout. Jacobs favors observational moments rather than linear narrative, and that's fine, but you still sense he's drifting toward a point that never quite coheres.
    • 71 Metascore
    • 63 Ty Burr
    Like Crazy gets the evanescence of young passion right - the way it ultimately has to burn off, leaving us standing in an unfamiliar adult world. But it never convinces us of the fire itself.
    • 58 Metascore
    • 63 Ty Burr
    Inventive and enjoyable but ultimately shallow.
    • 62 Metascore
    • 63 Ty Burr
    Five-Year Engagement alternates between realistic scenes of couples bickering and broad character farce, and the two halves mesh uneasily.
    • 62 Metascore
    • 63 Ty Burr
    A fond, uncomplicated love letter to two irrepressible good-time Charlottes.
    • 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.
    • 61 Metascore
    • 63 Ty Burr
    It’s a letdown, but this director’s still a talent to be reckoned with.
    • 58 Metascore
    • 63 Ty Burr
    The downside is that "The Hobbit" no longer looks like a movie at all. It looks like a video.
    • 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.
    • 59 Metascore
    • 63 Ty Burr
    That J. Edgar never ultimately convinces - that at times it's quite entertainingly bad - can be blamed on both an unfocused script and the project's very bigness. Somewhere in this ambitious, meticulously produced epic is a small love story struggling to get out.
    • 35 Metascore
    • 63 Ty Burr
    The Host will make perfect sense to 12-year-old girls, while their college-age sisters will probably laugh themselves sick and their mothers will look at Hurt and wonder when he got so old.
    • 59 Metascore
    • 63 Ty Burr
    The best scenes - the only time This Is 40 taps into genuinely messy comic anxiety - feature Brooks, who shpritzes shabby false confidence as Pete's pop, saddled with a younger wife and triplets he can't tell apart. Otherwise, the movie never quite comes to a point.
    • 71 Metascore
    • 63 Ty Burr
    It's a lovely dream that, in the end, feels too dreamlike. The director coaxes an intentionally passive performance from his daughter Marie, so that Nannerl's eventual waking to cold patriarchal reality doesn't sting as it might.
    • 63 Metascore
    • 63 Ty Burr
    The follow-up, Revenge of the Electric Car, arrives today and it's a lesser animal, more hopeful but also more complex and lacking the focused urgency of the original.
    • 67 Metascore
    • 63 Ty Burr
    The filmmaking is cool, watchful, and ultimately too distanced. Outrage isn't outrageous enough, and it hurts.
    • 63 Metascore
    • 63 Ty Burr
    The new film staggers under such a weight of self-conscious visual style that the story never connects with a viewer's emotions. Leo Tolstoy's classic novel has been filmed often, but this is the first time it takes place in a snow globe.
    • 70 Metascore
    • 63 Ty Burr
    If the new Wuthering Heights makes you uncomfortable, that's part of Andrea Arnold's game plan.
    • 54 Metascore
    • 63 Ty Burr
    A charming but terribly self-indulgent trifle that's less than the sum of its many parts.
    • 58 Metascore
    • 63 Ty Burr
    The script is by first-timer Randy Brown, but it feels as if it were spit out by one of the assistant GM's computers, so regular are its beats and revelations.
    • 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.
    • 76 Metascore
    • 63 Ty Burr
    A likable but cliched star-crossed romance set along the post-WWII Havana-New York jazz axis, the Spanish-made film features terrific music, passable artwork, and characters who stubbornly refuse to become more than sketches.
    • 64 Metascore
    • 63 Ty Burr
    Whenever it stays with Piccoli, though, it's mysterious and moving, struck by the humility of a man who's not up to playing God.
    • 69 Metascore
    • 63 Ty Burr
    Chronicle will never be mistaken for an artistic breakthrough, but it has a solid gimmick and pieces of it are brilliant.
    • 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.
    • 65 Metascore
    • 63 Ty Burr
    The Salt of Life is about that moment in a man or woman's life when members of the opposite sex stop seeing them, and while the mood is jauntily sensual, the undertow is fierce.
    • 41 Metascore
    • 63 Ty Burr
    Darling Companion would be instantly forgettable if not for Keaton, who imbues Beth with a sorrow, warmth, wisdom, and rage that feel earned.
    • 72 Metascore
    • 63 Ty Burr
    It's crisp entertainment even as plot absurdities gum up the works.
    • 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.
    • 51 Metascore
    • 63 Ty Burr
    The result isn’t a great movie, but it is an excellent guilty pleasure.
    • 68 Metascore
    • 63 Ty Burr
    Noah is equal parts ridiculous and magnificent, a showman’s folly and a madman’s epic.
    • 62 Metascore
    • 63 Ty Burr
    42
    The ambitious new biopic about Robinson, is better written and produced than those children’s books, but it isn’t any deeper, and that’s a disappointment.
    • 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.
    • 62 Metascore
    • 63 Ty Burr
    Chatty, neurotic, maddeningly messy, often very funny, "New York" spins in a lunatic orbit of its own.
    • 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.
    • 73 Metascore
    • 63 Ty Burr
    Arbitrage is a breezy watch, with good performances that don't cut very deep and an eye for décor but little interest in what it's decorating. What's missing, really, is outrage, or a sense of the 99 percent.
    • 66 Metascore
    • 63 Ty Burr
    Everyone is equal parts emotional victim and villain in Unforgivable, an elegantly rambling Franco-Italian affair about the ways we do each other wrong while trying to do each other right.
    • 74 Metascore
    • 63 Ty Burr
    Neil Young Journeys is easily the least of the three documentaries director Jonathan Demme has made with the legendary rocker; but in its shaggy, eccentric way, it may be the truest.
    • 81 Metascore
    • 63 Ty Burr
    The World’s End is more frantic than funny, but it’s still funny enough — just — to outweigh its own silliness.
    • 68 Metascore
    • 63 Ty Burr
    The Conjuring digs up no new ground — indeed, it seems almost proud of its old school bona fides — but it plows the classic terrain with a skill that feels a lot like affection. The ghost that’s really haunting this movie is nostalgia.
    • 59 Metascore
    • 63 Ty Burr
    The movie is sardonic, hip, heartfelt, surprisingly white, and for all its ensemble pleasures, it's squarely about a furiously prim young woman and how she learns to bend.
    • 61 Metascore
    • 63 Ty Burr
    It has a sense of drift that both vexes and beguiles.
    • 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.
    • 67 Metascore
    • 63 Ty Burr
    The performances are worth a look, especially since Christopher Walken so rarely gets to play a sane person.
    • 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.
    • 64 Metascore
    • 63 Ty Burr
    Quartet is a sweet-tempered, rather fuddly drama about retired opera singers, and compared to a slick crowd-pleaser like "Best Exotic Marigold Hotel," with whom it shares a star and a sentimentalized view of old age, it's a mess.
    • 67 Metascore
    • 63 Ty Burr
    A powerful documentary that, with a wider scope and a bit more shaping, could have been even more powerful, perhaps unbearably so. What's there is strong enough.
    • 48 Metascore
    • 63 Ty Burr
    Cheerful, skittish entertainment that never takes its subject seriously enough.
    • 68 Metascore
    • 63 Ty Burr
    It’s very much a film about men, their yearnings and discontents, and about the way sins tumble down from one generation to the next. It’s a bank-robber movie, too, as well as a drama about the pressures teenagers face from parents and peers. You can feel Cianfrance biting off more and more until his mouth is too full to chew.
    • 66 Metascore
    • 63 Ty Burr
    Tales, which (as the title suggests) is an "Arabian Nights"-style omnibus, has similarly eye-bending backgrounds but a creatively monochromatic foreground that comes to feel like a limitation.
    • 49 Metascore
    • 63 Ty Burr
    Lee’s Oldboy stands on its own. It just stands a bit shorter.
    • 77 Metascore
    • 63 Ty Burr
    A less than inspiring documentary about extremely inspiring individuals, High Ground is worth seeing for what it shows rather than how it shows it.
    • 44 Metascore
    • 63 Ty Burr
    Delivery Man is predictable but likable, schmaltzy but sweet.
    • 49 Metascore
    • 63 Ty Burr
    A big, sorrowful, dramatically trite period epic about a bleak chapter in the history of modern France.
    • 78 Metascore
    • 63 Ty Burr
    A black-and-white fever dream, and, like all dreams, its meanings are elusive. It’s opaque, maddening, often pretentious, yet the pretensions may be on purpose, to push us away from the adulterous colonials at the story’s center and reveal the Africa they’re too obsessed with each other to see.
    • 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.
    • 61 Metascore
    • 63 Ty Burr
    While Anchorman 2: The Legend Continues is a disappointment — how could it not be? — it’s not for lack of trying. If anything, the movie tries too hard.
    • 76 Metascore
    • 63 Ty Burr
    Mud
    The most striking aspect of Mud is the air of myth and tall-tale telling that hovers lightly over the settings and characters.
    • 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.
    • 57 Metascore
    • 63 Ty Burr
    LeBeouf may yet mature into an American James McAvoy — a charismatically spineless leading man — but Sarandon and her character have him and his character for lunch.
    • 57 Metascore
    • 63 Ty Burr
    What’s good about Rubberneck is also what makes it tough to watch: Karpovsky burrows under the skin of this repressed romantic nebbish until the frame seems ready to burst.
    • 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.
    • 71 Metascore
    • 63 Ty Burr
    Poppy Hill doubtless plays most strongly to Japanese audiences — especially the musical score made up of old-timey jazz and early-’60s pop that sounds like corn syrup to Western ears — but its central conflict is gentle, unyielding, and universal. Which is to say that it turns out to be a Hayao Miyazaki movie after all.
    • 67 Metascore
    • 63 Ty Burr
    The movie has the indulgent fondness of a gift from a son to his talented mum and aunties. But it also feels the funk, and that’s what counts.
    • 63 Metascore
    • 63 Ty Burr
    Kon-Tiki is stalwart and uplifting and there are passing moments of wonder.
    • 66 Metascore
    • 63 Ty Burr
    The studied impassivity of The Bling Ring feels increasingly like a dodge as the movie progresses; we sense an anger and a moralism that the director’s too cool or too wary or too close to engage.
    • 64 Metascore
    • 63 Ty Burr
    Disconnect is far from a bad movie. It’s just better at melodrama than drama.
    • 74 Metascore
    • 63 Ty Burr
    It’s a secondhand vision, when all is said and done, but that doesn’t have to be a bad thing when the craft is rapturous.
    • 63 Metascore
    • 63 Ty Burr
    Kleine's film is rambling and unfocused but mostly charming, and it steps into deeper waters almost in spite of itself.
    • 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.
    • 63 Metascore
    • 63 Ty Burr
    Out of the Furnace could have been a starkly powerful human drama or a cheesy, vibrant action film. It splits the difference and ends up playing like a lesser Springsteen song.
    • 60 Metascore
    • 63 Ty Burr
    The actors are excellent, as are the bruising re-creations of the firefight and the uncountable injuries sustained.
    • 56 Metascore
    • 63 Ty Burr
    Writers John W. Richardson, Chris Roach, and Ryan Engle bet that the central hook — Who’s the bad guy? How’s he doing this? — will keep us paying attention. And they’re right.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 63 Ty Burr
    Throughout, Firth compellingly plays a man struggling to make sense of the ordeal that his life has become. Too often, though, you can feel the movie struggling right along with him.
    • 68 Metascore
    • 63 Ty Burr
    With an aptness that may even be intentional, The Double feels both over-familiar and oddly new. It’s safe to call it a Kafka-esque tale, even though the Fyodor Dostoyevsky novel from which the movie is adapted was written in 1846.
    • 64 Metascore
    • 63 Ty Burr
    Yet for all the love emanating from client-pals Michael Douglas, Sylvester Stallone, Emeril Lagasse, and Steven Tyler, there’s a sadness to this movie that remains just off camera.
    • 76 Metascore
    • 63 Ty Burr
    Walking a line between droll comedy and a darker, more unsettling drama that the filmmakers aren’t quite up to, Frank is an entertaining curio with flashes of inspiration. That’s also a pretty good description of Frank’s music.
    • 56 Metascore
    • 63 Ty Burr
    As a director, Cahill’s a capable and sometimes breathtaking stylist, and he accomplishes remarkable things on a modest budget, topping up the visuals with patterns, rhymes, and concordances.
    • 73 Metascore
    • 63 Ty Burr
    You may be put in mind of HBO’s recent “True Detective” — the low-down Southern locations, the time period (here the mid-1980s), some truly horrible crimes, a general air of diseased moralism — but Cold in July, while stylishly done, isn’t close to that good.
    • 60 Metascore
    • 63 Ty Burr
    Emmanuelle Bercot’s amusingly rambling drama hits the expected rest stops with a Gallic shrug and a lot of Gauloises.
    • 68 Metascore
    • 63 Ty Burr
    As a depiction of extralegal activity, 12 O’Clock Boys is eye-opening but sometimes needlessly ambiguous.
    • 69 Metascore
    • 63 Ty Burr
    Intelligent and earnest, The Fault in Our Stars works well enough to keep a doubter from feeling mugged by sentiment.
    • 49 Metascore
    • 63 Ty Burr
    Enjoyable, occasionally grueling, and overstuffed with incident and agenda.
    • 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.
    • 62 Metascore
    • 63 Ty Burr
    While the climax of Beneath the Harvest Sky is a jumble of crosscutting, thunderstorms, and an inconveniently collapsing house, the movie never loses the pulse of people and tragedies it knows too well.
    • 37 Metascore
    • 63 Ty Burr
    Third Person staggers well over the two-hour mark only to self-destruct in a burst of overwrought cleverness.
    • 65 Metascore
    • 63 Ty Burr
    Rossi gives us a survey course when what we need is a seminar; the movie is a useful “What’s Wrong With College 101” but the advanced study remains to be done.
    • 84 Metascore
    • 58 Ty Burr
    A sumptuous two-and-a-quarter-hour emotional epic built on one lachrymose climax after another. What little plot there is exists only to set up the next Big Cry.
    • 49 Metascore
    • 58 Ty Burr
    Murphy gives a reined in performance that, every so often, shows a spark of the ''Shrek''ish donkey within.
    • 74 Metascore
    • 58 Ty Burr
    Judging by the title, though, Sprecher made the movie she wanted to make, and if you're in the right damp-wool mood, you may connect with it too.
    • 66 Metascore
    • 58 Ty Burr
    It's a little short on coherence and long on comic-book sensationalism -- dig the hokey, climactic Battle of the Minds between the hero and a cadaverous Mr. Big -- but there's no denying the nightmarish pull of the film's aesthetic.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    With The Invention of Lying, the British comic actor Ricky Gervais has come up with a wickedly funny idea for a movie - and then purged the wickedness right out of it.
    • 24 Metascore
    • 50 Ty Burr
    The result isn’t art but it is an improvement: a scurrilous, lowdown, sub-Tarantino action comedy that, unlike the original, doesn’t make you want to claw your eyes out. How’s that for praise?
    • 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.
    • 70 Metascore
    • 50 Ty Burr
    The parts, in other words, promise a brilliant whole. So why is this movie one of the signal disappointments of the year? You have to go back to the basics: Public Enemies has everything going for it except a reason and a script.
    • 60 Metascore
    • 50 Ty Burr
    What’s best about Funny People, actually, is Sandler, who takes the weird, resentful anger that has always coursed beneath his comedy and puts it right on the surface.
    • 33 Metascore
    • 50 Ty Burr
    One of those sticky dramas.
    • 52 Metascore
    • 50 Ty Burr
    The latest installment in the venerable sci-fi action franchise turns out to be a straight-up war film, grim and muscular and thundering and joyless. It's the color of cement, and it weighs as much, too.
    • 43 Metascore
    • 50 Ty Burr
    Reilly gives it his all, and he’s both very enjoyable and about as scary as a stubbed toe.
    • 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.
    • 45 Metascore
    • 50 Ty Burr
    Whatever Works is very minor Woody, querulous, fitfully funny, and removed from any shared reality.
    • 29 Metascore
    • 50 Ty Burr
    This is one schlockfest that may be enjoyed more by casual viewers than by hard-core fans, since writer-director Paul W.S. Anderson breaks with the established mythology of both properties whenever he feels like it. Like it matters.
    • 63 Metascore
    • 50 Ty Burr
    Shallow and proud of it, an antic cartoon that lacks the comic inspiration to go the distance.
    • 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.
    • 69 Metascore
    • 50 Ty Burr
    A sizable amount of national pride is on display in Ong-Bak.
    • 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.
    • 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
    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
    • 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.
    • 61 Metascore
    • 50 Ty Burr
    Likably played by Bruhl, the castaway remains more dramatic device than living, breathing character. And without him truly being there, Dench and Smith are just volleying an imaginary ping-pong ball between them. That's not acting -- that's exercise.
    • 63 Metascore
    • 50 Ty Burr
    A mostly lumbering, occasionally rousing epic that walks a bizarre line between historical fact and Hollywood wishful thinking.
    • 45 Metascore
    • 50 Ty Burr
    It would have been nice if someone had included a script, too.
    • 52 Metascore
    • 50 Ty Burr
    Visually dazzling and dramatically trite -- it's virtuoso piffle.
    • 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.
    • 47 Metascore
    • 50 Ty Burr
    Blandly noisy and inoffensively average.
    • 43 Metascore
    • 50 Ty Burr
    It's a smart, provocative idea for a movie. I wish 9 Songs was that movie.
    • 80 Metascore
    • 50 Ty Burr
    A textbook case of filmmakers who can't make up their minds about their characters; it's a failure of nerve disguised as dramatic ambiguity.
    • 42 Metascore
    • 50 Ty Burr
    G
    If the movie's not as bad as it sounds, it's not all that great, either.
    • 33 Metascore
    • 50 Ty Burr
    Taking wobbly aim at our country's complicated love affair with guns, the movie's the very definition of a cheap shot.
    • 46 Metascore
    • 50 Ty Burr
    A heartfelt but muddled melodrama.
    • 27 Metascore
    • 50 Ty Burr
    This new Fog floats in on the fumes of the 1980 John Carpenter original, but the surprise is that it's arguably better.
    • 40 Metascore
    • 50 Ty Burr
    A tawdry, predictable hunk of movie headcheese, and I still had a pretty good time with it.
    • 54 Metascore
    • 50 Ty Burr
    Here the foundation has been miscast. That's M-I-S-C-A-S-T.
    • 38 Metascore
    • 50 Ty Burr
    The movie equivalent of a box of generic macaroni and cheese: bland, easily digested, comforting, forgettable.
    • 60 Metascore
    • 50 Ty Burr
    A watchable disappointment. Sumptuous to look at, tastefully dull, and ultimately rather silly.
    • 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.
    • 34 Metascore
    • 50 Ty Burr
    Completely unnecessary but painless, like dentistry performed by mimes.
    • 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.
    • 62 Metascore
    • 50 Ty Burr
    Genuine, artful simplicity may be an impossible quality in a modern children's movie, so Curious George opts instead for mayhem under a blanket of sweetness. The little ones understand.
    • 45 Metascore
    • 50 Ty Burr
    A movie like this needs a suave, amoral villain, so here's Paul Bettany.
    • 38 Metascore
    • 50 Ty Burr
    Suffice to say that Shawn Levy, director of the "Cheaper by the Dozen" movies, is no Blake Edwards; for every finely tuned slapstick fillip, there's a ton of messy, family-friendly buffoonery.
    • 58 Metascore
    • 50 Ty Burr
    Ice Age: The Meltdown is pure sequel product that should make children and undemanding grown-ups happy even as it lacks anything resembling storytelling inspiration.
    • 46 Metascore
    • 50 Ty Burr
    An acceptable but uninspired simulacrum: an overly faithful multiplex translation of a very, very popular airport novel.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Ty Burr
    The film is very near a comedy, and I'm not sure that's on purpose.
    • 67 Metascore
    • 50 Ty Burr
    Time to Leave is an unintended litmus test for lovers of foreign films.
    • 68 Metascore
    • 50 Ty Burr
    Monster House is the first horror comedy made exclusively for fourth-graders.
    • 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.
    • 56 Metascore
    • 50 Ty Burr
    The movie has a pleasing skinned-knee innocence that makes you wish everything else about it wasn't so shoddy.
    • 57 Metascore
    • 50 Ty Burr
    It very much wants to be "Garden State" five years down the line.
    • 57 Metascore
    • 50 Ty Burr
    A good-natured but terminally mild British mockumentary.
    • 37 Metascore
    • 50 Ty Burr
    I'm not the first observer, or even the second, to liken the star's (Penn) portrayal of fictional Louisiana governor Willie Stark to the late John Belushi's impersonation of Joe Cocker.
    • 39 Metascore
    • 50 Ty Burr
    One walks out of Man of the Year aching for the squandered opportunities.
    • 49 Metascore
    • 50 Ty Burr
    Turns out to be rather less than the sum of its headlines.
    • 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.
    • 56 Metascore
    • 50 Ty Burr
    The film squeezes out its feel-good messages like toothpaste from a tube.
    • 57 Metascore
    • 50 Ty Burr
    If you're young, the film may intoxicate you. If you're older, it may make you relieved you're no longer young.
    • 63 Metascore
    • 50 Ty Burr
    This is no corporate project made to squeeze a few more dollars from a fading cash cow. No one else has been asking for another "Rocky," other than maybe Burt Young . No, this is a rarer beast -- an auteur sequel -- and it's so wrapped up in its maker's personal mythology and psychic needs that it becomes a hall of mirrors to which we're given a slack-jawed ringside seat.
    • 57 Metascore
    • 50 Ty Burr
    The immediate problem with making a movie based on Potter's life is that it doesn't seem to have been very interesting.
    • 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.
    • 64 Metascore
    • 50 Ty Burr
    Aside from pretty people behaving cutely, there's just not much here, and even devoted Francophiles may nod into their cafe crèmes.
    • 65 Metascore
    • 50 Ty Burr
    It's a doughty movie, stuck halfway between Masterpiece Theatre and Classics Illustrated, but, to his credit, gifted journeyman director Michael Apted understands he's playing the long game.
    • 27 Metascore
    • 50 Ty Burr
    The movie is this year's "RV," a rolling tent show of suburban male anxieties: castration, obsolescence, dismissive offspring, fears of gayness. LOTS of fears of gayness. Unlike "RV," though, Wild Hogs is funny. Eventually.
    • 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.
    • 73 Metascore
    • 50 Ty Burr
    The movie trades the paranoia of modern omni-cam culture for a tighter, more personal drama, and while it sticks with you, you feel the missed opportunity like a phantom leg.
    • 57 Metascore
    • 50 Ty Burr
    It's a charming disappointment that retains the elements that make the writer's novels so good without ever bending them into cinematic shape.
    • 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.
    • 16 Metascore
    • 50 Ty Burr
    An intensely unpleasant killer-thriller mystery.
    • 25 Metascore
    • 50 Ty Burr
    The movie isn't THAT bad -- it's just made-for-TV historical treacle that has somehow found its way to the big screen (and barely that; if you want to be moved or outraged by the film, you'll have to travel to Danvers or Revere).
    • 45 Metascore
    • 50 Ty Burr
    Buried somewhere within the bipolar extravaganza that is The Invasion is an awfully good movie that got away.
    • 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.
    • 61 Metascore
    • 50 Ty Burr
    Lust, Caution is a disappointment coming from director Ang Lee, but it's a watchable one, and it rattles around in your head for a long time after you've seen it, as much for what it does right as for where it goes wrong.
    • 36 Metascore
    • 50 Ty Burr
    Old story, new beat: That sums up Feel the Noise, an acceptable if resolutely average low-budget drama set in the New York/Puerto Rican musical melting pot known as reggaeton.
    • 65 Metascore
    • 50 Ty Burr
    There's a great movie to be had in the notion of a busybody whose advice keeps blowing up in his face, but Dan in Real Life merely sets it up and walks away.
    • 43 Metascore
    • 50 Ty Burr
    The movie is decent and heartfelt, and it eventually settles into some sharp diamond action, but the small-town homilies are dropped like an anvil. If you thought 1993's "Rudy" was too spare and unsentimental, Final Season is for you.
    • 49 Metascore
    • 50 Ty Burr
    The 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.
    • 58 Metascore
    • 50 Ty Burr
    The Mist doesn't provoke further thought; it provokes active annoyance at being punished in the service of a pulp morality tale with pretensions.
    • 43 Metascore
    • 50 Ty Burr
    At its best, the movie's crazy in unexpected and poetic ways; at its worst, merely preposterous.
    • 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.
    • 61 Metascore
    • 50 Ty Burr
    Heavy metal, alt-pop, southern rock, orchestral swells, wailing Middle Eastern tunes all vie for our attention, but none of this noise drowns out the sound of good intentions twisting themselves into an impotent knot.
    • 33 Metascore
    • 50 Ty Burr
    How can you tell the target age for Superhero Movie is exactly 13 1/2 years? Because most of the jokes are Internet-related.
    • 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.
    • 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?
    • 37 Metascore
    • 50 Ty Burr
    The movie demands you be a glutton for sensation and then has the nerve to ask why you're not hungrier.
    • 63 Metascore
    • 50 Ty Burr
    The film itself suggests a sketch video on Ferrell and McKay's "Funny or Die" website, padded out to the dimensions of a character comedy.
    • 56 Metascore
    • 50 Ty Burr
    The movie looks great at least, and the cast includes such stalwarts of Italian cinema as Claudia Gerini and Pierfrancesco Favino.
    • 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.
    • 56 Metascore
    • 50 Ty Burr
    Most useful and enlightening as a historical tour through the major crises of the Kennedy administration.
    • 54 Metascore
    • 50 Ty Burr
    The chief culprits are Townsend's TV-movie characterizations and a very muddled message.
    • 47 Metascore
    • 50 Ty Burr
    Disappointing not for what it is but what it could have been.
    • 57 Metascore
    • 50 Ty Burr
    The problem with Flash of Genius isn't that the subject is dull but that the movie is.
    • 20 Metascore
    • 50 Ty Burr
    Ultimately, the problem with An American Carol is the problem with far too much political discourse in this country, left or right: It highlights the worst excesses of the opposition for the sole purpose of discrediting the vast middle.
    • 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?
    • 57 Metascore
    • 50 Ty Burr
    For all its unforgivable blandness, "High School Musical" opens young audiences to the charms of this most transporting of movie genres.
    • 40 Metascore
    • 50 Ty Burr
    Something has been lost in the translation, and it's not just the script.
    • 58 Metascore
    • 50 Ty Burr
    Depressingly predictable in its dialogue and dramatic beats, Defiance is most interesting as a study of unlikely leaders.
    • 51 Metascore
    • 50 Ty Burr
    Hotel for Dogs is agreeable Saturday afternoon multiplex piffle - friendly, formulaic, completely harmless.
    • 29 Metascore
    • 50 Ty Burr
    You've seen New in Town before, and you've seen it done better. Still, it's a sweet-hearted bit of anemia, pleasant and obvious, and there are a few honest laughs to it.
    • 72 Metascore
    • 50 Ty Burr
    12
    The new film's not only almost double the length of the original, it's four times as ambitious - a sprawling, surrealist, ultimately disturbing portrait of a society lurching uncertainly toward democracy. What's really on trial in this movie? Just the Russian soul.
    • 38 Metascore
    • 50 Ty Burr
    Gigantic plays like a Sundance movie with half the nouns removed; fetchingly cryptic for a while, it's ultimately just obscure.
    • 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.
    • 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.
    • 34 Metascore
    • 50 Ty Burr
    Ghosts is better-than-average McConaughey swill, but not by much - that's its pleasure and its curse.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    iIf you can ignore a ridiculously overbearing soundtrack - a big if - the film's a pleasant bauble. Still, those coming in cold may be forgiven for thinking they've wandered into "Atonement" remade as a farce.
    • 32 Metascore
    • 50 Ty Burr
    Panettiere, I’m sad to report, is a dud as the title character, a supposed wild thang who never rises above the level of runty, obnoxious mall chick, down to the roll-on tan.
    • 62 Metascore
    • 50 Ty Burr
    A sweet, splattery bit of in-jokery; if it’s not actually a good movie, on some level you have to admire the chutzpah of a film set in 1850s Ireland but shot on Staten Island.
    • 67 Metascore
    • 50 Ty Burr
    Essential viewing for builders, graphic designers, visual artists, and other optically inclined folk, but it’s a bit of a slog for the uninitiated.
    • 33 Metascore
    • 50 Ty Burr
    As such things go, it’s not bad: slick and proficient, The Stepfather 2.0 gets the adrenaline pumping, but the original has the brains.
    • 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.
    • 43 Metascore
    • 50 Ty Burr
    An effective, no-frills gruel-a-thon if that’s your cup of Swiss Miss, and it explores such burning questions as: What happens if you’re dumb enough to leave your bare hand on a metal safety bar overnight?
    • 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.
    • 43 Metascore
    • 50 Ty Burr
    What’s missing is the assurance of tone that a Lumet would provide.
    • 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.
    • 62 Metascore
    • 50 Ty Burr
    Youth recedes, the body decays, life is a compromised thing: These are truths. But they're not fresh truths, and Moss's riverdogs are hardly the first to have discovered them.
    • 51 Metascore
    • 50 Ty Burr
    Wonderful characters, these three, and The Hard Word never figures out what to do with them.
    • 60 Metascore
    • 50 Ty Burr
    For the record, Rare Birds doesn't even fly as a birder's special, since Tasseter's Sulfurious Duck is a fictional species. Now, if they'd seen a Eurasian Wigeon, then we'd be talking.
    • 49 Metascore
    • 50 Ty Burr
    Still as moth-eaten as a Bengal tiger rug on the floor of a London men's club.
    • 70 Metascore
    • 50 Ty Burr
    This isn't a movie -- it's an author in love with the sound of her own voice.
    • 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.
    • 57 Metascore
    • 50 Ty Burr
    It's an actor's film, all right -- peppered with rich supporting performances but unconvincing in the telling.
    • 58 Metascore
    • 50 Ty Burr
    The movie is both stunning on the level of visual pageantry and curiously inert as cinema.
    • 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.
    • 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.
    • 75 Metascore
    • 50 Ty Burr
    This payback-revenge storyline, told mostly at night with minimal dialogue, is tense but familiar, and Bruno's quick-draw costume changes are fun to watch.
    • 57 Metascore
    • 50 Ty Burr
    The movie looks great and sounds better, and its status as a pioneering work of cinematic eye candy seems secure. For one thing, it's hard to imagine ''Moulin Rouge'' without it. As a movie about recognizable human beings, however, One From the Heart remains a failure.
    • 46 Metascore
    • 50 Ty Burr
    Dawdles amiably and can't quite decide what it wants to be.
    • 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.
    • 64 Metascore
    • 50 Ty Burr
    Thriller fans might remember a terrific 1987 B flick called ''The Stepfather.'' One Hour Photo is that film, directed by an art student.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 50 Ty Burr
    Note that it took six writers to come up with the script for The Jungle Book 2. Note that Rudyard Kipling isn't one of them.
    • 41 Metascore
    • 50 Ty Burr
    The premise of Agent Cody Banks is more than a little bizarre.
    • 45 Metascore
    • 50 Ty Burr
    Those who love police overkill, guns, jingoistic race-baiting, guns, macho smugness, and guns will be well served.
    • 42 Metascore
    • 50 Ty Burr
    The film's final scenes are among its silliest, unfortunately.
    • 74 Metascore
    • 50 Ty Burr
    Barrels along on a diverting enough sugar high, but in the hangover that follows you may wonder where the wonder was.
    • 32 Metascore
    • 50 Ty Burr
    Shabbily filmed, thoroughly harmless Official Product.
    • 33 Metascore
    • 50 Ty Burr
    In a better movie -- a much better movie -- LaBeouf might make the same sort of impact Dustin Hoffman did in ''The Graduate.'' But the kid's young. There are movies to come.
    • 70 Metascore
    • 50 Ty Burr
    Hoffman confessed he was drawn to the role because ''this was a guy who didn't know how to feel, and I found that fascinating.'' His challenge is our frustration
    • 56 Metascore
    • 50 Ty Burr
    Doesn't have the gonzo wit of ''Re-Animator'' or ''Evil Dead 2,'' nor is it flat-out terrifying like ''The Texas Chainsaw Massacre'' or even a zombie-come-lately like this year's ''28 Days Later.''
    • 44 Metascore
    • 50 Ty Burr
    It's ''Hannah and Her Sisters'' with all the emotions and half the artistry.
    • 33 Metascore
    • 50 Ty Burr
    Flatters its audience by dividing the grown-up world into mean idiots and nice idiots, which might be interestingly subversive if the movie had anything on its mind. Instead, it's just a Hollywood crash course: Heist Films 101.
    • 65 Metascore
    • 50 Ty Burr
    Isn't a first-date movie. As a third -date movie, though, it's just about perfect.
    • 57 Metascore
    • 50 Ty Burr
    Benton has laid bare a great author's creaky plotting only to deliver a melodrama with bookish pretensions.
    • 58 Metascore
    • 50 Ty Burr
    Does have the enclosed, slightly overheated feel of a family theatrical.
    • 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.
    • 52 Metascore
    • 50 Ty Burr
    A pleasant puff-pastry throwback to Sandra Dee movies, ''Bye Bye Birdie,'' and other pre-Beatles effluvia.
    • 38 Metascore
    • 50 Ty Burr
    Invites us to both hate King David and admire his style, and there will probably be some hand-wringing about that.
    • 45 Metascore
    • 50 Ty Burr
    Isn't just lame; it's neutered.
    • 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.
    • 55 Metascore
    • 50 Ty Burr
    Contains more than its share of implausibilities and absurdities.
    • 62 Metascore
    • 50 Ty Burr
    Story lines don't come any clammier.
    • 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.
    • 52 Metascore
    • 50 Ty Burr
    Everything about this curio is claustrophobic.
    • 58 Metascore
    • 50 Ty Burr
    So appallingly slipshod in all the usual departments is this sequel to the engaging martial-arts comedy Western ''Shanghai Noon'' that you're tempted to cite its makers for contempt.
    • 56 Metascore
    • 50 Ty Burr
    The loosest, silliest, broadest thing the Coens have yet committed to celluloid, and that includes "Raising Arizona," one of this critic's favorites.
    • 49 Metascore
    • 50 Ty Burr
    In sum, a big, honking tutti-frutti sundae of a movie that nonetheless is shot through with authentic feeling.
    • 61 Metascore
    • 50 Ty Burr
    The people who've made White Oleander appear to have spent a lot of time worrying about the audience. They should have told the story and let us take care of ourselves.
    • 34 Metascore
    • 50 Ty Burr
    It is spectacularly average. Neither an inspired reimagining nor a painful dud,
    • 74 Metascore
    • 50 Ty Burr
    Primarily a one-man show for Darroussin, and the actor, a longtime pro in the French film industry, comes through with a scarifyingly believable portrayal.
    • 70 Metascore
    • 50 Ty Burr
    The movie ends with a sentimental vision of unity that, admittedly, warmed this weary moviegoer's heart. If that vision was earned, I might even have melted.
    • 16 Metascore
    • 50 Ty Burr
    Will parents be able to sit through Kangaroo Jack without plunging sharp sticks into their eyes? The short answer? Yes. Barely.
    • 62 Metascore
    • 50 Ty Burr
    At one point in ''Praise,'' Godard mentions that the Bois de Boulogne, the Parisian park, is all that's left of the French forests from the time of the Roman conquest. In Praise of Love, glowing like an ember, is all that's left of genius.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Ty Burr
    What you might call conditional whimsy, predicated on the audience overlooking so many plot implausibilities that it might get tuckered out from all the charity.
    • 60 Metascore
    • 50 Ty Burr
    An opaque kidnapping drama that features three expertly crafted performances operating on three different planets.
    • 43 Metascore
    • 50 Ty Burr
    Skips lightly along the sewers of human depravity as if the trip alone was worth the telling.
    • 53 Metascore
    • 50 Ty Burr
    Weaver's randy, impatient, very funny performance is the main reason to see Imaginary Heroes.
    • 61 Metascore
    • 50 Ty Burr
    The main, if not only, reason to see The Machinist is for Christian Bale's title performance, and even then you have to be a fan of hardcore martyrdom in the service of craft.
    • 25 Metascore
    • 50 Ty Burr
    Deeply, proudly average..."Mean Girls" it's not; a plastic butter knife has more edge. But sometimes it's nice to know your kids won't cut their fingers.
    • 38 Metascore
    • 50 Ty Burr
    Like everything in this humorless new genre, "Chronicles" comes with its own snap-together mythology.
    • 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.
    • 61 Metascore
    • 50 Ty Burr
    Zemeckis and Hanks really seem to think they’re giving us a Christmas movie for the ages and a technology that will change cinema forever. They’re wrong on both counts. The Polar Express is merely a marvelous toy that has somehow become convinced it has a soul.
    • 57 Metascore
    • 50 Ty Burr
    What this dystopia doesn't do is shock. In truth, Code 46 traffics in notions of speculative social fiction that are so familiar by now as to feel disconcertingly normal.
    • 69 Metascore
    • 50 Ty Burr
    Wants to be as shocking as its title, but it doesn't have the nerve.
    • 59 Metascore
    • 50 Ty Burr
    A stylish, watchable, very familiar future-cop action thriller. What was once original is now almost completely derivative.
    • 56 Metascore
    • 50 Ty Burr
    At its intermittent best, Troy suggests a primitive pro-wrestling smackdown with epochal consequences. At its worst, it's a throwback to the ham-fisted sword-and-sandal international coproductions of the early 1960s: "The 300 Spartans" with better sets. Barely.
    • 62 Metascore
    • 50 Ty Burr
    The film's meta-fey title alone is an example of why some people adore Anderson and why he drives others absolutely crazy.
    • 38 Metascore
    • 50 Ty Burr
    One of the prime laws of the multiplex states that any action or horror movie series will devolve into ritualized violence, self-mocking camp, and egregious silliness by part three. Blade: Trinity is right on schedule.