For 2,205 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 4.2 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 All About Steve
Score distribution:
2205 movie reviews
    • 69 Metascore
    • 63 Ty Burr
    This is frostbitten Fellini -- a film that finds fresh beauty and contentment in the wake of centuries of conquering armies. The great joke of Vodka Lemon is that the conquerors missed what was there all along.
    • 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. 
    • 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.
    • 75 Metascore
    • 63 Ty Burr
    Charming, melancholy, and, in the end, not terribly memorable.
    • 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.
    • 67 Metascore
    • 63 Ty Burr
    As sympathetic and well-turned as it is, Nowhere Boy only gives us more mythology.
    • 64 Metascore
    • 63 Ty Burr
    A frolic that keeps tripping over its own gorgeous feet.
    • 48 Metascore
    • 63 Ty Burr
    This gulf between a woman's public and private faces is an intensely rich subject that Rapaport glosses over.
    • 82 Metascore
    • 63 Ty Burr
    Essentially a dramatic reenactment of a generation's coping strategies.
    • 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.
    • 61 Metascore
    • 63 Ty Burr
    In its best moments, Reign Over Me quietly says that we're our problem friends' keepers. At its worst, the movie IS a problem friend.
    • 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.
    • 59 Metascore
    • 63 Ty Burr
    Unbroken stirs a moviegoer by default; it’s an astounding story of human endurance that has been brought a little too safely to the screen.
    • 68 Metascore
    • 63 Ty Burr
    Everyone here is obsessed with finding "the real thing" - the next hot actor, the next revealing paparazzi shot, the lover or the friend who'll make it all worthwhile. Everyone settles for the illusion of reality instead. It's prettier, and it doesn't hurt so much.
    • 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.
    • 69 Metascore
    • 63 Ty Burr
    Produced, co-written, and directed by its star, The Birth of a Nation is very much a first film, its hesitancies disguised as bluntness, and the best things about it are Parker’s acting and his ambitions.
    • 47 Metascore
    • 63 Ty Burr
    The movie's straightforward and ingratiating, and as pretty-boy history lessons go, it's a lot less obnoxious than "Pearl Harbor."
    • 68 Metascore
    • 63 Ty Burr
    Noah is equal parts ridiculous and magnificent, a showman’s folly and a madman’s epic.
    • 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.
    • 48 Metascore
    • 63 Ty Burr
    If only the movie had the courage to be as gonzo as it wants to be!
    • 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.
    • 73 Metascore
    • 63 Ty Burr
    Ostensibly a road-trip farce, Chair really depicts the highway to man-child hell: The laughs come from the gulf between how mature the characters think they're being and what emotional toddlers they are.
    • 67 Metascore
    • 63 Ty Burr
    The filmmaking is shallow but assured, the star charisma thoughtful but undimmed. As for the character, I'd vote for Mike Morris. Actually, I wish I could.
    • 53 Metascore
    • 63 Ty Burr
    A proficient, atmospheric fangfest that does nothing you haven't seen before but still does it passably well.
    • 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.
    • 61 Metascore
    • 63 Ty Burr
    A conventional New York-lonely hearts story made watchable by one element and one element only: Parker Posey.
    • 63 Metascore
    • 63 Ty Burr
    When the cast starts clomping atop a car, their synchronized bodies joining with the booming cross-rhythms, we're sold.
    • 43 Metascore
    • 63 Ty Burr
    A movie only a copyright lawyer could love. It strip-mines at least three Hitchcock classics - "North by Northwest," "The Wrong Man," and "The Man Who Knew Too Much" - then commits unlawful assault on Stanley Kubrick's "2001: A Space Odyssey" just for the heck of it.
    • 72 Metascore
    • 63 Ty Burr
    Kendrick gives a truly bad performance here - she's a self-conscious actress playing a self-conscious person and getting her signals all mixed up - and it's unclear whether she has been hung out to dry by her director or if it's just that the character makes no sense whatsoever.
    • 52 Metascore
    • 63 Ty Burr
    Scott’s “Exodus” is dutiful, deeply earnest, and more than a little dull.
    • 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.
    • 50 Metascore
    • 63 Ty Burr
    Both despite its familiarity and because of it, Nothing Like the Holidays brings it home for Christmas.
    • 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.
    • 35 Metascore
    • 63 Ty Burr
    The longer it takes for the eldritch glop to hit the fan, in fact, the less true the movie may be to King. For better and for worse, Dreamcatcher is true to King.
    • 70 Metascore
    • 63 Ty Burr
    If the new Wuthering Heights makes you uncomfortable, that's part of Andrea Arnold's game plan.
    • 62 Metascore
    • 63 Ty Burr
    At a certain point, The Duchess stops attending to the topiary and becomes a women's melodrama instead.
    • 58 Metascore
    • 63 Ty Burr
    Danny Collins leaves absolutely nothing to chance. The cast is full of sharp little turns by Melissa Benoist — the girlfriend in “Whiplash” and a future Supergirl — and Josh Peck and Katarina Cas, the latter playing Danny’s bubblehead user of a fiancée.
    • 65 Metascore
    • 63 Ty Burr
    A bonbon of embarrassment comedy.
    • 64 Metascore
    • 63 Ty Burr
    Preposterous, luridly entertaining.
    • 55 Metascore
    • 63 Ty Burr
    Charming, if terribly overstuffed, vision of romantic London gridlock.
    • 42 Metascore
    • 63 Ty Burr
    Inferno is the exact cinematic equivalent of an airport paperback, which is what’s fine and forgettable about it.
    • 48 Metascore
    • 63 Ty Burr
    The plot -- it's inspired and ridiculous at the same time -- is best described as "Groundhog Day" meets "Memento."
    • 56 Metascore
    • 63 Ty Burr
    Winter Passing plays like two indie movies trapped in one film, and Zooey Deschanel is in the better of them. Will Ferrell is in the other one.
    • 64 Metascore
    • 63 Ty Burr
    One comes away from Interview exhausted and a little unclean, entertained by the acting equivalent of a pit bull fight but needing a hose-down. The movie confirms that in every relationship "there are winners and losers." True enough, but for the audience this one's a draw.
    • 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.
    • 38 Metascore
    • 63 Ty Burr
    Third Person staggers well over the two-hour mark only to self-destruct in a burst of overwrought cleverness.
    • 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
    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.
    • 69 Metascore
    • 63 Ty Burr
    Babel is a ziggurat of brilliant pieces built on sand. It's also this season's "Crash," a movie you know is Important because it never stops telling you so.
    • 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.
    • 63 Metascore
    • 63 Ty Burr
    Depressingly, and in keeping with the stringent rules of bad-boy shock-comedies, all the women here are bimbos, shrews, and slutburgers except for one cool chick -- Cusack’s love interest, played by Lizzy Caplan -- who acts like a guy.
    • 35 Metascore
    • 63 Ty Burr
    Isn't for the kiddies. It probably isn't for anyone not interested in the darkest corners of the human psyche.
    • 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.
    • 67 Metascore
    • 63 Ty Burr
    More predictable than it ought to be - you can set your watch by the appearance of the mournful Nick Drake song on the soundtrack.
    • 67 Metascore
    • 63 Ty Burr
    The performances are worth a look, especially since Christopher Walken so rarely gets to play a sane person.
    • 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.
    • 79 Metascore
    • 63 Ty Burr
    It's an honorable attempt, but there's still no genuine need for this film to exist.
    • 63 Metascore
    • 63 Ty Burr
    An overly constructed little thriller that squeezes a fair amount of suspense out of its far-fetched plot.
    • 67 Metascore
    • 63 Ty Burr
    Daniel Anker's Music From the Inside Out is so intent on divining the mysteries behind the creative act that it comes up frustratingly short on specifics.
    • 68 Metascore
    • 63 Ty Burr
    It’s a solid if not stellar crime drama, well put together, very well acted, and lacking only a genuine reason to exist.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 63 Ty Burr
    Death" builds slowly and inexorably to a comic explosion that's just too good -- too insanely, impossibly mortifying -- to spoil here. Let's just say it dwarfs everything that has come before it.
    • 62 Metascore
    • 63 Ty Burr
    Kon-Tiki is stalwart and uplifting and there are passing moments of wonder.
    • 61 Metascore
    • 63 Ty Burr
    Extremely watchable, even if it never goes as deep as it should.
    • 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.
    • 69 Metascore
    • 63 Ty Burr
    A manically playful revenge fantasia made from the spare parts of Sergio Leone spaghetti westerns and strapping World War II action flicks.
    • 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.
    • 65 Metascore
    • 63 Ty Burr
    The movie moves, but it doesn't breathe.
    • 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.
    • 45 Metascore
    • 63 Ty Burr
    At times, Fanboys is every rowdy low-budget '80s road movie you've ever seen on Cinemax at 2 in the morning. What keeps the movie near, if not actually in, hyperdrive is its love of deep-dish geek culture and a gaggle of cameo appearances.
    • 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.
    • 66 Metascore
    • 63 Ty Burr
    A strident, contrived, surprisingly lovable Noo Yawk City family farce.
    • 69 Metascore
    • 63 Ty Burr
    Fans of the animated wildlife adventure show will be in warthog heaven; others need not necessarily apply.
    • 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.
    • 65 Metascore
    • 63 Ty Burr
    The cast does good work, despite a less-than-great screenplay.
    • 68 Metascore
    • 63 Ty Burr
    Queen and Country shows a modern sensibility in its young hero’s all-encompassing disgust with the military mind-set, but it has one foot in Britain’s old “Carry On” comedies, and a subplot in which Percy and Redmond steal the RSM’s beloved regimental clock could come straight out of the old Henry Fonda classic “Mr. Roberts.”
    • 56 Metascore
    • 63 Ty Burr
    There’s a terrific popcorn movie in Focus — a con-game romantic comedy that bubbles along on a playful high and that keeps the audience guessing in a state of delighted suspension of disbelief. Unfortunately, that movie is over after 40 minutes, and Focus still has another hour or so to go.
    • 63 Metascore
    • 63 Ty Burr
    Honors the power and beauty of these beasts even as it underscores the cultured savagery of the men who are crowding them out.
    • 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.
    • 67 Metascore
    • 63 Ty Burr
    The new film is a return to form after that sagging midsection, and the coterie of Hartley admirers still paying attention will find frustrations, rewards, a few darkly intelligent laughs, and an ending that unexpectedly haunts.
    • 49 Metascore
    • 63 Ty Burr
    Lee’s Oldboy stands on its own. It just stands a bit shorter.
    • 60 Metascore
    • 63 Ty Burr
    Like ''Blair,'' it never quite finds a way out of its own built-in dead-end.
    • 66 Metascore
    • 63 Ty Burr
    The movie is strong and holding as long as it's shambling about in the Montauk dusk; when Dieckmann has to bring things to a resolution, Diggers turns ordinary -- sweet, but you've seen it many times before.
    • 54 Metascore
    • 63 Ty Burr
    The film, like the tour it documents, wallops you in the face with politics.
    • 67 Metascore
    • 63 Ty Burr
    A lot of the movie works, but enough doesn’t for Maps to the Stars to go down as a lost opportunity and one of this director’s braver missteps.
    • 42 Metascore
    • 63 Ty Burr
    The best part of Orphan is the outstandingly lunatic plot twist that kicks in just as you're checking your watch and hoping they'll wrap things up. This development - I'd love to tell you, but you wouldn't believe me - boosts the movie into overdrive for a final 20 minutes of happy, disreputable mayhem.
    • 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.
    • 58 Metascore
    • 63 Ty Burr
    May
    Satisfyingly, May also turns out to be lowdown genre fun, a film that nearly makes up in slacker wit and high-spirited gore what it lacks in budget and elegance.
    • 66 Metascore
    • 63 Ty Burr
    Ultron’s goals never make much sense beyond the basic kill-the-Avengers-and-destroy-the-Earth checklist, nor does he develop as a character over the long haul. He’s just a static baddie, fun to look at and handy with a quip but ultimately as dull as unpolished chrome.
    • 79 Metascore
    • 63 Ty Burr
    The catch in Gabrielle is that the audience pays as well.
    • 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.
    • 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.
    • 64 Metascore
    • 63 Ty Burr
    Watching Adoration is like juggling three tennis balls, a porcupine, and a graduate thesis, but eventually it finds a unifying theme, that of tolerance melting away racial and intergenerational hatreds.
    • 61 Metascore
    • 63 Ty Burr
    13 (Tzameti) is an existential horror film, a violent prank, a metaphor for modern Europe, and a first-time director's startling calling card.
    • 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.
    • 47 Metascore
    • 63 Ty Burr
    The real struggle in The Alamo is between historic revisionism and Hollywood notions of sacrifice, and it's not much of a contest: Hollywood wins, as it did in John Wayne's sprawling, factually spurious 1960 film.
    • 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.
    • 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.
    • 63 Metascore
    • 63 Ty Burr
    There are some good, sharp, surprising laughs in Youth in Revolt. So why does it feel so dreadfully familiar?
    • 71 Metascore
    • 63 Ty Burr
    Looks steam-cleaned, and that can't be right.
    • 54 Metascore
    • 63 Ty Burr
    The movie’s a platypus: cute as the dickens but what the heck is it?
    • 71 Metascore
    • 63 Ty Burr
    Anyone interested in Buddhism and the chance to see the high-altitude, deep-spirited landscapes of Bhutan from a movie theater seat is herewith directed to Travellers and Magicians.
    • 72 Metascore
    • 63 Ty Burr
    It's crisp entertainment even as plot absurdities gum up the works.
    • 65 Metascore
    • 63 Ty Burr
    James Scurlock's documentary horror show has a critical message to impart -- your credit cards are out to kill you -- and a naive, ham - handed way of imparting it.
    • 71 Metascore
    • 63 Ty Burr
    Preposterous without being much fun about it. That's a shame: How often do you get to see Cruise play a professional assassin with Bill Clinton's hair?
    • 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.
    • 62 Metascore
    • 63 Ty Burr
    If Saved! sinks into formula -- any movie with a showdown at a prom is treading a well-worn path -- you're grateful for its forgiving spirit.
    • 56 Metascore
    • 63 Ty Burr
    An earnest drama about the futility of "rescuing" gay men back to Jesus, Save Me presents a paradox: It's an issue drama in which the most compassionately drawn character is on the other side of the issue.
    • 53 Metascore
    • 63 Ty Burr
    And again things go bump and eventually yarrrragghhh in the night.
    • 80 Metascore
    • 63 Ty Burr
    Despite a moving, canny incarnation of the man by Frank Langella, despite a slickly entertaining coffee-table production as only Ron Howard knows how, the movie feels cooked up.
    • 61 Metascore
    • 63 Ty Burr
    An intelligent, often touching, sometimes pedestrian drama.
    • 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.
    • 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.
    • 62 Metascore
    • 63 Ty Burr
    The real villain is a cowed and lazy citizenry. Meaning all of us. Disappointingly, V for Vendetta makes this point early and moves on, at some point turning as shallow as what it protests against.
    • 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.
    • 67 Metascore
    • 63 Ty Burr
    Fiennes's energy gets the film over the finish line.
    • 72 Metascore
    • 63 Ty Burr
    Dunham has been justly praised for her determination in getting Tiny Furniture made, but the movie itself has been overpraised as a result.
    • 45 Metascore
    • 63 Ty Burr
    Sweet, smartly acted, and charmingly old-fashioned, Flipped is a minor pleasure that will strike a lot of moviegoers - those who think no one makes movies for them anymore - as a major treat.
    • 47 Metascore
    • 63 Ty Burr
    The problem with Semi-Pro is that it keeps forgetting it's a parody of sports movies; the final scenes are supposed to be uplifting (sort of) but they're not fooling anyone. The film's much better when it just lets the guys gas and sass each other.
    • 62 Metascore
    • 63 Ty Burr
    A fond, uncomplicated love letter to two irrepressible good-time Charlottes.
    • 56 Metascore
    • 63 Ty Burr
    '39 Pounds of Love is a heartwarmer that looks away from darker, deeper, and more troubling matters.
    • 70 Metascore
    • 63 Ty Burr
    Without question, not for the children. It is, however, just the cup of rancid black-comedy eggnog for anyone fed up with holiday cheer in all its manifestations.
    • 88 Metascore
    • 63 Ty Burr
    The movie isn't badly done, just overdone - a cozy art-house crowd-pleaser coasting on the expectations of its genre.
    • 61 Metascore
    • 63 Ty Burr
    What Trollhunter isn't is particularly scary, but in its defense, it's not trying to be.
    • 57 Metascore
    • 63 Ty Burr
    Unashamed about giving its audience a good time, and the high spirits go a long way toward counterbalancing the cliches.
    • 37 Metascore
    • 63 Ty Burr
    Inside Amelia is a sharp idea struggling to get out: How does a woman marketed to the public as a star turn herself back into a human being? And at what cost?
    • 62 Metascore
    • 63 Ty Burr
    Five Minutes of Heaven’reduces Northern Ireland’s troubles to a gimmick, but it’s an interesting gimmick, and the two men hoisted on its petard work at vivid cross-purposes. If nothing else, the film’s worth seeing as a demonstration of opposing acting techniques.
    • 69 Metascore
    • 63 Ty Burr
    What played as glorious period tomfoolery to European festival juries and discerning U S audiences in the early 1950s now just seems quaintly pleased with itself.
    • 59 Metascore
    • 63 Ty Burr
    The film's lack of focus is almost criminal, but schadenfreude energizes Stone.
    • 62 Metascore
    • 63 Ty Burr
    The best scenes are when Stark just cuts impatiently through the claptrap.
    • 66 Metascore
    • 63 Ty Burr
    Even in the city’s most crowded place, Giroux makes his lovers seem like the only couple on Earth.
    • 40 Metascore
    • 63 Ty Burr
    The movie's a genuine oddity: a Latino action drama with one foot in bullet-spitting genre flicks -- '70s blaxploitation and '80s coke-kingpin films are the primary reference points -- and the other in raggedly personal family melodrama.
    • 72 Metascore
    • 63 Ty Burr
    Priceless is a bauble - an art-house diamond made of paste that somehow still gives you good glimmer for the money.
    • 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.
    • 72 Metascore
    • 63 Ty Burr
    An honest, honorable indie chamber drama that, if anything, errs on the side of caution. It benefits from a scrupulously observed performance by Kevin Bacon.
    • 60 Metascore
    • 63 Ty Burr
    The thing barely makes a lick of sense. Rapturous on a scene-by-scene basis and nearly incoherent when taken as a whole, the movie is idealistic and deranged, inspirational and very, very conflicted.
    • 36 Metascore
    • 63 Ty Burr
    Fly Me to the Moon is a crummy movie for kids, yet it still holds out the prospect of past wonders and future marvels. It's one small step for a housefly, one giant leap for 3-D.
    • 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.
    • 39 Metascore
    • 63 Ty Burr
    This is quite enjoyable as creature features go, and Bale continues to demonstrate his curious under-the-radar appeal. As for McConaughey, let's just say a star is reborn. Suddenly that whole naked-bongo-playing incident makes a lot more sense.
    • 68 Metascore
    • 63 Ty Burr
    Voyeurism is central to the cinema and to acting, of course, and you'd better believe these women know it. Still, Casting About feels oddly disingenuous.
    • 67 Metascore
    • 63 Ty Burr
    Flow preaches to the choir with a starry-eyed NPR eco-humanism that can set the wrong kind of person's teeth on edge.
    • 45 Metascore
    • 63 Ty Burr
    This is an old-fashioned sports hagiography of the sort that Gary Cooper used to star in while Teresa Wright sat smiling and worried on the sidelines, and, amazingly, it engages your attention and even respect while trotting out every clubhouse cliche in the book.
    • 57 Metascore
    • 63 Ty Burr
    Color Me Kubrick digs all sorts of devilish ironies out of this "true...ish story," and it's a fine dark farce before turning sad and, worse, monotonous. The con wears off before the movie does, but while it's in the air, "Kubrick" spins with bogus cheer.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 63 Ty Burr
    Cheerful, skittish entertainment that never takes its subject seriously enough.
    • 64 Metascore
    • 63 Ty Burr
    As visually overstuffed as a hoarder’s apartment, the movie improves as it goes.
    • 65 Metascore
    • 63 Ty Burr
    It seems to play as vastly different movies depending on who's looking at it.
    • 73 Metascore
    • 63 Ty Burr
    Cantet does something that educated, upscale audiences may find exasperating in the extreme: He takes a tinderbox of racial and sexual exploitation, pours gasoline all over it, and refuses to light the match.
    • 64 Metascore
    • 63 Ty Burr
    As an entry in the advocacy-entertainment genre, in which glamorous movie stars bring our attention to the plight of the less fortunate, Blood Diamond is superior to 2003's ridiculous "Beyond Borders" while looking strident and obvious next to last year's "The Constant Gardener."
    • 64 Metascore
    • 63 Ty Burr
    This is one of those rare movies that genuinely likes its characters and wishes them the best; as agonizing as it can be to watch Jack fumble toward human connection, Hoffman knows the fumbling's the point.
    • 40 Metascore
    • 63 Ty Burr
    Suicide Squad prides itself on being “dark,” but it’s really just jokey, cynical, and violent, not to mention visually ugly as sin. It’s as subversive as milk. But the cast and the pacing keep it moving.
    • 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.
    • 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.
    • 63 Metascore
    • 63 Ty Burr
    An amusingly damning portrait of a man trying to impose his will on a world that, really, has better things to do.
    • 66 Metascore
    • 63 Ty Burr
    It's a deceptively small film, one whose observations may continue to detonate quietly in your mind after the lights have come up.
    • 68 Metascore
    • 63 Ty Burr
    The new movie is tart and weightless, and it entertains without leaving a mark. Not that there's anything wrong with that, but at 85 minutes, The Valet at times feels like a blueprint for a farce rather than the farce itself.
    • 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.
    • 60 Metascore
    • 63 Ty Burr
    Lushly engaging, even if it covers some of the same ground as ''The Pianist'' with less artistry and more melodrama.
    • 50 Metascore
    • 63 Ty Burr
    One thing's clear: R.J. Reynolds won't be showing Constantine at the company picnic any time soon.
    • 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.
    • 40 Metascore
    • 63 Ty Burr
    The stand-up routines — from Jackie and the pros alike — are funny and blue enough to shock a few laughs out of you, sometimes in spite of your better judgment, and the star seems once again genuinely invested in creating a character.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 63 Ty Burr
    Taken as a whole, the film says, "We grieve too, but like this, and this, and this."
    • 69 Metascore
    • 63 Ty Burr
    Maybe it's a cheap shot to call Revolutionary Road "American Beauty" without the laughs, but it gets to the heart of the problem.
    • 32 Metascore
    • 63 Ty Burr
    A loud but proficient slab of explode-o-rama summer blockbuster nonsense, perfectly entertaining if you like that sort of thing, extremely skippable if you don't.
    • 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.
    • 64 Metascore
    • 63 Ty Burr
    Ayer, who has dealt with charismatic bad boys before — he wrote the script for “Training Day” and directed the sharp police drama “End of Watch” — makes the paternal “Wardaddy” into a figure both monstrous and upstanding.
    • 74 Metascore
    • 63 Ty Burr
    It's a bizarre, provocative story and a moving one, but it doesn't access the richer levels and themes of the film the publicity campaign obviously wants you to think of: 2006's "The Lives of Others."
    • 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
    • 63 Ty Burr
    Just Wright is as formulaic as they come, but at its core is a surprisingly tender romantic drama.
    • 42 Metascore
    • 63 Ty Burr
    Completely unoriginal, sure, but watchable and even likable.
    • 45 Metascore
    • 63 Ty Burr
    A fertile example of the Studio Film Gone Berserk, where too many characters and too many story lines geometrically progress until a level of blissful absurdity is reached.
    • 56 Metascore
    • 63 Ty Burr
    A problematic memory play, shot through with honey-colored nostalgia, that backs nervously into darker matters.
    • 44 Metascore
    • 63 Ty Burr
    It's painless, especially if you have a small child in tow, and the Rock, bless his heart, acts like it's all new to him. The star should do more comedy - he's got quick reflexes and a face that lends itself to cartoon double takes, and he's not afraid to look completely ridiculous.
    • 77 Metascore
    • 63 Ty Burr
    A charming, spiky period piece that might be called "Boo Radley: The Final Years."
    • 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.
    • 65 Metascore
    • 63 Ty Burr
    It rockets along entertainingly enough for most of its running time - only that it's made with a self-importance the story itself doesn't warrant.
    • 61 Metascore
    • 63 Ty Burr
    Directed in the breathless inspirational tones of an infomercial, the film's an acceptable document of a thoroughly remarkable individual.
    • 59 Metascore
    • 63 Ty Burr
    Elvis & Nixon strains itself to bring the title duo together and then relaxes — finally — while Spacey and Shannon perform the actor’s equivalent of a waltz.
    • 75 Metascore
    • 63 Ty Burr
    You can feel the actors tossing energy, one-liners, and limbs off each other with gusto.
    • 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.
    • 66 Metascore
    • 63 Ty Burr
    Elegy drifts helplessly into melodrama, and it loses its bearings and its head in a ridiculous final act.
    • 46 Metascore
    • 63 Ty Burr
    The movie’s a piece of high-octane summer piffle: stylish, funny, brainless without being too obnoxious about it, and Cruise is its manic animating principle.
    • 62 Metascore
    • 63 Ty Burr
    Micmacs is the equivalent of a circus troupe setting up a tent in a war zone: You're entertained, even delighted, but after a while you suspect there are more serious matters at hand.
    • 57 Metascore
    • 63 Ty Burr
    Just feels like it was made from the pieces of every fantasy-action movie ever made.
    • 65 Metascore
    • 63 Ty Burr
    The remake is stranded between pushing the scatological envelope and caving in to the formulas the 1976 movie established, and until the well-nigh foolproof ending, it comes up gasping for air.
    • 37 Metascore
    • 63 Ty Burr
    The Duke is not only name-checked in passing, but Eckhart (who's excellent) even bears a squinty resemblance by the final scenes.
    • 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.
    • 72 Metascore
    • 63 Ty Burr
    By the end, Mesrine: Public Enemy #1 has turned nearly as flabby as its aging antihero.
    • 56 Metascore
    • 63 Ty Burr
    Far from a classic of precision farce, but it's funnier than the trailers make it seem.
    • 57 Metascore
    • 63 Ty Burr
    It has a naive, heartfelt selfishness that may offend some viewers, and a resolve that others will find intensely soothing. ''Dying's not as easy as it looks,'' cautions Ann's doctor (Julian Richings), but here it's as easy as a movie can make it.
    • 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.
    • 60 Metascore
    • 63 Ty Burr
    Entertaining enough, but it's more pat than provocative -- this is what makes it a bona fide audience pleaser while keeping it from drawing real blood.
    • 54 Metascore
    • 63 Ty Burr
    Humor in 'Jim' is a little too dry.
    • 56 Metascore
    • 63 Ty Burr
    Phoebe in Wonderland gradually loses its grip on tone and believability, climaxing with a show-must-go-on moment that's just plain silly. Thankfully, Barnz knows exactly where to end his film: on the face of a girl, and an actress, at the crossroads.
    • 67 Metascore
    • 63 Ty Burr
    Above all, the film is lucky to have one of the better character actors in recent movies in a lead role: Ciarán Hinds as Michael Farr.
    • 58 Metascore
    • 63 Ty Burr
    All writers are entitled to tell the story of their own war, whether it's on the battlefield, in their head, or -- as is usually the case -- somewhere in between. Like it or not, Anthony Swofford did just that. Mendes, by contrast, tells the story of a Hollywood war, and it's simply not the news we can use.
    • 68 Metascore
    • 63 Ty Burr
    A taut, engrossing action movie about real-life heroes, so why is it a disappointment? Because director Peter Berg is telling the wrong story.
    • 56 Metascore
    • 63 Ty Burr
    The best moments in Watchmen, then, work as delirious music-videos.
    • 43 Metascore
    • 63 Ty Burr
    The movie is by no means good but it’s surprisingly enjoyable: a misty, moody Saturday-matinee monster-chiller-horror special.
    • 66 Metascore
    • 63 Ty Burr
    The movie could have used a little fire and brimstone itself. It’s a little too cautious.
    • 70 Metascore
    • 63 Ty Burr
    A fascinating shambles of a documentary - fascinating because its subject is so influential and so deranged, a shambles because its filmmaker can't decide which approach to take and so takes all of them.
    • 59 Metascore
    • 63 Ty Burr
    A paranoid male fantasy about cheating, with surface similarities to Hollywood movies like ''Fatal Attraction" and ''Unfaithful." This one's Italian, though, and its attitude toward adultery is more European.
    • 53 Metascore
    • 63 Ty Burr
    Formulaic but extremely good-natured comedy.
    • 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.
    • 66 Metascore
    • 63 Ty Burr
    Gore fans will want to bump the two-and-a-half-star rating up a star, whereas those who can't handle on-screen violence will want to stay the hell away.
    • 59 Metascore
    • 63 Ty Burr
    Fatale is, truthfully, a mess - an absurdly overwritten Eurotrash thriller that beggars an audience's suspension of disbelief. It's also great over-the-top moviemaking if you're in a slap-happy mood.
    • 71 Metascore
    • 63 Ty Burr
    It's a tough balancing act and probably a futile one. As greedily as Hollywood looks upon these books as a franchise to strip-mine, the hard fact remains that what's good about them - Ted Geisel's untrendy gentleness, humor, and intelligence - resists translation to the big screen.
    • 61 Metascore
    • 63 Ty Burr
    Turns what sounds suspiciously like a gimmick into a concept that holds water. Or, in this case, the sparkling wine of comedy.
    • 66 Metascore
    • 63 Ty Burr
    The movie’s fun to watch, but you can tell it was a lot more fun to make, and that’s a problem. The party stays up on the screen; down here, it’s been over for a year.
    • 67 Metascore
    • 63 Ty Burr
    A smart, well-acted two hours at the art house, full of witty observations and fellow feeling. But, really, it has no business being a movie.
    • 58 Metascore
    • 63 Ty Burr
    Inventive and enjoyable but ultimately shallow.
    • 66 Metascore
    • 63 Ty Burr
    Fusing teen comedy, bad-boy raunch, Tarantino-style gonzo mayhem, and tossing in a bloodthirsty little girl vigilante who swears like Steve Buscemi in a Coen brothers movie, the film has its moments of high-flying, low-down style. It’s also nowhere near as subversive as it thinks it is.
    • 69 Metascore
    • 63 Ty Burr
    A sloppy mosh note to the genre, with its own excesses and oversights. It's like a flier for a band you've never heard of: torn, soaked with beer, itchy with aggression.
    • 36 Metascore
    • 63 Ty Burr
    Everyone has piled into this dumber, sillier, more consistently funny reprise with an enthusiasm that’s infectious, and not in a low-grade medical way.
    • 72 Metascore
    • 63 Ty Burr
    Grueling, heavy-handed, and surprisingly insight-free. For once, a gaggle of Leigh characters hasn't jelled beyond the level of its cast's conceits.
    • 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.
    • 48 Metascore
    • 63 Ty Burr
    Shakhnazarov's film effortlessly captures the times and the author's conflicted yet unyielding attitude, yet it never draws any conclusions -- the film remains under glass.
    • 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.
    • 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.
    • 73 Metascore
    • 63 Ty Burr
    Kim is a hard director to pin down. This is the first time the inconsistency has spilled onto the screen, though.
    • 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.
    • 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.
    • 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
    • 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.
    • 58 Metascore
    • 63 Ty Burr
    The downside is that "The Hobbit" no longer looks like a movie at all. It looks like a video.
    • 65 Metascore
    • 63 Ty Burr
    Forgoes that split-level wit to concentrate on mere rock 'em sock 'em mayhem.
    • 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.
    • tbd Metascore
    • 63 Ty Burr
    This isn't a great movie -- it's barely good, really -- but it gets something about New Hampshire I've rarely seen onscreen: a defiant pride in the way things don't work out. Live Free is a comedy of vastly diminished criminal expectations. That's the fun of it, and the frustration, too.
    • 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.
    • 66 Metascore
    • 63 Ty Burr
    Uplifting? Not bloody likely. Mesmerizing? Very, thanks to Greg Kinnear's eerie performance as Crane and director Paul Schrader's lucid depiction of the character's happy-go-lucky descent into hell.
    • 67 Metascore
    • 63 Ty Burr
    It’s an easy film to watch and become engrossed in, and it’s just as easy to forget, despite a true-life twist that darkens the final minutes without making much of an impact on the whole. Expertly shot, excitingly edited, smartly acted, The Connection never quite connects.
    • 82 Metascore
    • 63 Ty Burr
    At its most interesting, the movie offers us the sight of people desperately embracing faith in the hopes it will pull them through.
    • 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.
    • 58 Metascore
    • 63 Ty Burr
    James has the forward drive of a trash-compacted Ralph Kramden with some of Ed Norton's random gentility and, here at least, he has a knack for fine-tuned physical comedy that gets you laughing even when the script's not there.
    • 61 Metascore
    • 63 Ty Burr
    If you want state of the art anime that comes within spitting distance of escaping the limits of its genre, this might be your cup of bootleg sake.
    • 71 Metascore
    • 63 Ty Burr
    If you want to take the kids to a cockle-warming tale of humans and computer-generated critters, do yourself a favor: Skip the singing rodents and head for the baby Loch Ness Monster in The Water Horse: Legend of the Deep.
    • 53 Metascore
    • 63 Ty Burr
    It's the old-fashioned verities of documentary filmmaking that serve Thomason and Perry best.
    • 67 Metascore
    • 63 Ty Burr
    It’s a literal cliffhanger and the next worst thing to being there.
    • 70 Metascore
    • 63 Ty Burr
    For a movie predicated on slapstick forward momentum, we spend an awful lot of time driving backward.
    • 29 Metascore
    • 63 Ty Burr
    Faris is delightful, in fact, and she steals the movie right out from under Schneider.
    • 57 Metascore
    • 63 Ty Burr
    For a harmless "Indiana Jones" knock-off, Journey to the Center of the Earth has an awful lot riding on it.
    • 57 Metascore
    • 63 Ty Burr
    Tidily arranges its raw feelings about fathering and manhood into a decent, intelligent melodrama meant to soothe audiences and provoke no one.
    • 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.
    • 57 Metascore
    • 63 Ty Burr
    For a holding maneuver, Thor itself turns out to be diverting enough - not close to a sharp-edged romp like "Iron Man" but not the B-movie roadshow some of us were expecting.
    • 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.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 63 Ty Burr
    It's quite watchable date-night cheese - the kind of movie you can simultaneously snort at and enjoy.
    • 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.
    • 65 Metascore
    • 63 Ty Burr
    If the movie’s all too predictable in its broad outlines, it’s scurrilously funny in the details, and it pushes its two leads and one of its supporting actors in entertainingly fresh directions.
    • 53 Metascore
    • 63 Ty Burr
    A stylish but essentially businesslike smash-and-crasher.
    • 69 Metascore
    • 63 Ty Burr
    Sorry, boys. After two decades, the first film still does more with one skyscraper than Live Free or Die Hard does with an entire country.
    • 56 Metascore
    • 63 Ty Burr
    The movie ends on a plaintive can’t-we-all-get-along note, but at heart it’s a Charles Bronson flick. It mashes the revenge button the real world won’t let us push.
    • 49 Metascore
    • 63 Ty Burr
    Enjoyable, occasionally grueling, and overstuffed with incident and agenda.
    • 65 Metascore
    • 63 Ty Burr
    With Clerks II, the director retreats to home turf, but is Smith playing it safe or is he really interested in seeing how the old nabe has changed? Bit of both, actually.
    • 45 Metascore
    • 63 Ty Burr
    French films have long specialized in depicting the impassioned, go-for-broke infatuation known as l'amour fou. Yann Samuell's Love Me If You Dare may be the first to investigate l'amour annoying.
    • 61 Metascore
    • 63 Ty Burr
    Fascinating for its gonzo formal daring and brooding attitude, "Valhalla'' is still a trial for audiences seeking characters, plot, and things happening.
    • 52 Metascore
    • 63 Ty Burr
    There's grace here if the movie were willing to dig for it. Occasionally it does.
    • 48 Metascore
    • 63 Ty Burr
    Brad Pitt and Michelle Pfeiffer? Great to look at. Astonishingly dull to listen to.
    • 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.
    • 73 Metascore
    • 63 Ty Burr
    Sweet, indulgent, and surprisingly soft in the center; the most minor entry in the brainiac-doc genre to date, it's nevertheless a perfectly entertaining hour and a half for crossword adepts.
    • 66 Metascore
    • 63 Ty Burr
    In inviting us along to peek into the life, filmmakers Kerthy Fix and Gail O'Hara don't give us quite enough about the art.
    • 47 Metascore
    • 63 Ty Burr
    At its best, The Time Traveler’s Wife does suggest the preciousness of a life that’s too often beyond our control. At its worst, it’s more than a little nuts.
    • 59 Metascore
    • 63 Ty Burr
    In the end, the movie's just the kind of enjoyably empty-headed fluff it celebrates and mocks. It sits up, it begs, eventually it plays dead, and still you want to pat it on the head. It's a good dog.
    • 45 Metascore
    • 63 Ty Burr
    Despite the best of intentions, a career-best performance from Kevin Costner, and outstanding work by Octavia Spencer and child actor Jillian Estell, Black or White succumbs to some of the same stereotypes it tries to dispel.
    • 60 Metascore
    • 63 Ty Burr
    May be the most successful forgery in the history of hate.
    • 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.
    • 63 Metascore
    • 63 Ty Burr
    Bubble is a stunt in search of a movie, and it almost finds one.
    • 72 Metascore
    • 63 Ty Burr
    Someone once said about W.C. Fields that he had the rare ability to despise amusingly. I can imagine no greater compliment than to say that Ricky Gervais seems, at his best, like a young Fields.
    • 47 Metascore
    • 63 Ty Burr
    A broad, bawdy, silly French farce set on the Riviera in high season, it's a diversion at best and a strained souffle at worst, but it rings enough Gallic changes on the old family-summer-gone-horribly-wrong genre to deliver some unexpectedly sharp laughs.
    • 69 Metascore
    • 63 Ty Burr
    It’s a lot of fun before it wears you out, and it wears you out sooner than it should.
    • 43 Metascore
    • 63 Ty Burr
    More drama than tract, it's a low-budget Christian indie that just clears the runway on the sincerity of its performances and inclusiveness of its message.
    • 61 Metascore
    • 63 Ty Burr
    I'm of two minds about this. A movie that held on to all the breathless tearjerkery of the novel would probably have to star Bette Davis as Amir, but as amended by Forster the story is now touching and somewhat dull.
    • 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.
    • 58 Metascore
    • 63 Ty Burr
    Writer-director Richard Curtis (“Love Actually’’) has made a party, not a movie, and if the party goes on much too long, at least the guests are great company and the host’s taste in music is impeccable.
    • 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.
    • 56 Metascore
    • 63 Ty Burr
    So who am I to carp that the film trades in the amiable realism of the show for just another watered-down pop star fantasy? Heck, it beats the Olsen twins. But not by much.
    • 59 Metascore
    • 63 Ty Burr
    Maybe writer-director Adam Brooks has made a fluffy Woody Allen pastiche here, but it's arguably more pleasing than anything Allen himself has done lately.
    • 56 Metascore
    • 63 Ty Burr
    Pure bangers-and-mash realism: a spotty yet ingratiating working-class farce that suggests a Mike Leigh movie with opera buffa tendencies.
    • 75 Metascore
    • 63 Ty Burr
    If you've ever staggered out of IKEA oppressed by the clean, inhuman lines of a thousand affordable dinette sets, you may get a kick out of Bent Hamer's comedy Kitchen Stories.
    • 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.
    • 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.
    • 82 Metascore
    • 63 Ty Burr
    We don’t go to Hollywood movies for hard facts, but it’d be nice to think we’re getting some kind of truth with our entertainment. Maybe Aaron Sorkin thinks we can’t handle the truth.
    • 54 Metascore
    • 63 Ty Burr
    Handsomely shot and edited, The Bank benefits greatly from the brutal ministrations of LaPaglia,
    • 46 Metascore
    • 63 Ty Burr
    King Arthur does to this legend what "Troy" did to Homer, with one important difference: It's a better movie.
    • 51 Metascore
    • 63 Ty Burr
    The result isn’t a great movie, but it is an excellent guilty pleasure.
    • 66 Metascore
    • 63 Ty Burr
    This is a film that believes deeply in ghosts, and half of them are in its director’s head.
    • 45 Metascore
    • 63 Ty Burr
    An earnest, simplistic, affecting slice of low-watt indie filmmaking that goes where few American movies bother: below the poverty line.
    • 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.
    • 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.

Top Trailers