For 2,266 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 3.5 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 I Am Not Your Negro
Lowest review score: 0 The Nutcracker
Score distribution:
2266 movie reviews
    • 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.
    • 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.
    • 71 Metascore
    • 63 Ty Burr
    Holes functions as a film, but just barely: Readers familiar with the book may negotiate the film's antic crosscutting, but newbies will need to pop a Dramamine before the lights dim.
    • 68 Metascore
    • 63 Ty Burr
    This is the kind of tastefully poignant drama that asks its audience to confront taboos and then pats them on the back for doing so.
    • 45 Metascore
    • 63 Ty Burr
    The women of Perry's army will come out feeling they've been well-served, and for the rest of us there's Bassett, getting her groove back after a spate of less than worthy roles. Perry's getting his groove, too - I give him two more films and an A-list cameraman.
    • 63 Metascore
    • 63 Ty Burr
    A Perfect Getaway may not play fair by the audience but at least it cheats honestly. These days that's something.
    • 68 Metascore
    • 63 Ty Burr
    The best armchair holiday going - the cast is lovely to behold and the plot dips in and out of the arrondissements with panache. You almost don’t mind that none of it adds up to terribly much.
    • 51 Metascore
    • 63 Ty Burr
    Eventually the energy of the original short runs out and the movie coasts on fumes, but it remains surprisingly enjoyable for all that.
    • 54 Metascore
    • 63 Ty Burr
    The film version of Memoirs of a Geisha is very like a geisha itself: a thing of exquisitely refined surfaces beneath which beats an ordinary heart.
    • 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.
    • 57 Metascore
    • 63 Ty Burr
    An elegantly made, almost unbearably depressing tale of WWII-era deprivation and survival.
    • 49 Metascore
    • 63 Ty Burr
    What could have been an effervescent 90-minute experience is so in love with the sound of its own voice that it develops genre trouble and piddles on for two-plus hours.
    • 60 Metascore
    • 63 Ty Burr
    The movie is genial, sloppy, slightly above average summer movie fun.
    • 63 Metascore
    • 63 Ty Burr
    Monsters is a genuine curio: a moody, low-budget road-movie romance that takes place against a background of alien invasion.
    • 55 Metascore
    • 63 Ty Burr
    She (Portman) has filmed the book according to its emotional meaning to her, and that’s fine. What she hasn’t done is whip it into shape as a compelling movie.
    • 61 Metascore
    • 63 Ty Burr
    It has a sense of drift that both vexes and beguiles.
    • 74 Metascore
    • 63 Ty Burr
    The storytelling here is at times as awkward as its hero, and since it is a Gray film Two Lovers takes itself dreadfully seriously. Yet it's one of the few movies I've seen recently that improves on a second viewing, in part because Phoenix does such remarkably subtle work.
    • 59 Metascore
    • 63 Ty Burr
    Just rent the kid ''National Velvet" when you get home. That movie's proof you don't need a true story to be inspired.
    • 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.
    • 64 Metascore
    • 63 Ty Burr
    It’s a muddled but plush experience overall, and if you’re a royalist completist or a historical romantic, you’ll probably have a decent time.
    • 66 Metascore
    • 63 Ty Burr
    Cheerful and easy to watch but surprisingly inept in the telling.
    • 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.
    • 62 Metascore
    • 63 Ty Burr
    It's a strained but heartfelt work of muted sentimentality, obvious in its symbolism but grounded in a sense of life's preciousness and brevity. Depending on your mood and indulgence, you may weep or you may be left out in the cold.
    • 45 Metascore
    • 63 Ty Burr
    If it doesn't quite represent the new, improved Adam Sandler, it shows him almost desperately trying to figure out who that might be.
    • 74 Metascore
    • 63 Ty Burr
    In other words, this movie isn’t just about an adolescent boy — it pretty much is an adolescent boy.
    • 79 Metascore
    • 63 Ty Burr
    You come out of the theater impressed by the scope of Eastwood's reach and frustrated by how little remains in his grasp. As gifted as this filmmaker is, this isn't the sort of thing he does best.
    • 50 Metascore
    • 63 Ty Burr
    The movie's pleasant and light, though, and its emotional crises are the crust on an acceptably edible crème brulee.
    • 67 Metascore
    • 63 Ty Burr
    In spite of the entropy, Jellyfish is close to a comedy, with a gentle sense of absurdism and a welcome generosity toward its characters.
    • 50 Metascore
    • 63 Ty Burr
    A movie like Armored has been done better in the past. But it has also been done much, much worse, and Antal knows enough not to mess with the sturdy bones of the thing.
    • 60 Metascore
    • 63 Ty Burr
    Think of Red Doors as a promise, and hope that Georgia Lee keeps it.
    • 58 Metascore
    • 63 Ty Burr
    Everything Is Illuminated hasn't been adapted so much as gutted, stuffed, and mounted.
    • 48 Metascore
    • 63 Ty Burr
    A straight-up combat film. Not a very good combat film — it wallows in genre clichés and makes a hash of its action scenes — but one that does get you to empathize with its grunts, the “secret soldiers” of the title.
    • 73 Metascore
    • 63 Ty Burr
    Robert Altman's gossamer, tension-free meditation on the ballet life, never quite recovers from a performance scene that arrives about 20 minutes in.
    • 58 Metascore
    • 63 Ty Burr
    Hard Candy is the rare movie that may be worthiest for the arguments you'll have after it's over.
    • 54 Metascore
    • 63 Ty Burr
    10 Items or Less is nearly an acting class exercise, except for the fact that these two have long since graduated.
    • 76 Metascore
    • 63 Ty Burr
    Marguerite strives for ambiguity and settles for a muddle. It piles too much on its serving plate, and at 129 minutes it’s definitely overlong.
    • 61 Metascore
    • 63 Ty Burr
    The Hero may not be a great movie but it’s a welcome tribute to a lanky, taciturn presence — a love letter to an actor that reminds us of why we ought to love him, too.
    • 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.
    • 40 Metascore
    • 63 Ty Burr
    Movies that are entertainingly nuts don't come around very often, and when they do they need to be given their due.
    • 47 Metascore
    • 63 Ty Burr
    Predictable, square, and honorable all at once.
    • 64 Metascore
    • 63 Ty Burr
    Far from perfect but completely unique, the film could best be described as a paranoid South American metaphysical political thriller -- you heard me -- and whatever its failures, they're not ones of nerve or imagination.
    • 49 Metascore
    • 63 Ty Burr
    It's a Tibetan film -- a rare thing -- made by Tibetans, starring Tibetans, and set in the increasingly desperate exile community of Dharamsala .
    • 75 Metascore
    • 63 Ty Burr
    The movie’s never less than entertaining, but you often feel like arguing with the screen, and not in a good way.
    • 50 Metascore
    • 63 Ty Burr
    If there's one thing Avary gets right, it's the brutal use-or-be-used approach to interpersonal relations that Ellis laid out with numbing detail, and James Van Der Beek is down to the challenge as Sean Bateman: horndog, cokehead, ceramics major, and all-around jerk.
    • 68 Metascore
    • 63 Ty Burr
    Quite simply, The Adventures of Tintin is a model of modern movie craftsmanship. It's also, I'm afraid, rather dull.
    • 83 Metascore
    • 63 Ty Burr
    The movie’s not all glorious noise.
    • 47 Metascore
    • 63 Ty Burr
    Seems to be exactly the movie Mel Gibson wanted to make as an abiding profession of his traditionalist Catholic faith. On that score it is a success.
    • 55 Metascore
    • 63 Ty Burr
    I wish the movie were so good that I could say you have to see it; while Smith’s performance takes on a life of its own, the movie seems locked to its talking points.
    • 67 Metascore
    • 63 Ty Burr
    Lynch (one) may be the documentary David Lynch wants, but I'm not sure it's the one he or we deserve.
    • 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.
    • 56 Metascore
    • 63 Ty Burr
    Joy
    The movie’s a shambles, alternatingly agreeable and aggravating, held together by our interest in its heroine and by Lawrence’s tremendously sympathetic performance.
    • 48 Metascore
    • 63 Ty Burr
    One soggy slab of sentimental uplift, but it doesn't pretend to be anything else, and there's some honor in that.
    • 60 Metascore
    • 63 Ty Burr
    The actors are excellent, as are the bruising re-creations of the firefight and the uncountable injuries sustained.
    • 59 Metascore
    • 63 Ty Burr
    Jurassic World is a roadworthy retread, a summer blockbuster that has more than its share of absurdities and bald patches but gets by anyway because dinosaurs.
    • 57 Metascore
    • 63 Ty Burr
    This is a genre with especially sturdy bones, and when Southpaw connects, which is more often than you might expect, you feel it down to your toes.
    • 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.
    • 60 Metascore
    • 63 Ty Burr
    As with most rock festivals, you had to be there, and if you're British you probably were, one year or another. In that case, Glastonbury is a pointed but essentially nostalgic tour of one country's more noble pop impulses. Otherwise, it's as muddy as Yasgur's farm back in the day.
    • 63 Metascore
    • 63 Ty Burr
    If you’re in the right mood and seeing it with the right crowd, Keanu can put you close to a giggle coma, even as you realize the material’s far beneath the talents of its stars. They’re Key and Peele, but the movie treats them like Abbott and Costello.
    • 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.
    • 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.
    • 49 Metascore
    • 58 Ty Burr
    Murphy gives a reined in performance that, every so often, shows a spark of the ''Shrek''ish donkey within.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Ty Burr
    There’s a thin line between the iconic and the generic, and The Rover, a grim post-apocalyptic drama from down under, wanders back and forth across it in an adrenaline daze.
    • 51 Metascore
    • 50 Ty Burr
    Wonderful characters, these three, and The Hard Word never figures out what to do with them.
    • 34 Metascore
    • 50 Ty Burr
    Ghosts is better-than-average McConaughey swill, but not by much - that's its pleasure and its curse.
    • 41 Metascore
    • 50 Ty Burr
    What a waste.
    • 68 Metascore
    • 50 Ty Burr
    Genial, silly, and instantly forgettable, Popstar: Never Stop Never Stopping is just another piece of product from the larger “Saturday Night Live” universe, a way for a former cast member to try to prove he’s capable of carrying a movie.
    • 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
    A comparison to Carver's original story - called "Why Don't You Dance?," easily Googleable, and all of 1,600 words long - is instructive.
    • 47 Metascore
    • 50 Ty Burr
    Monogamy sets up a nifty idea that it doesn't follow through.
    • 30 Metascore
    • 50 Ty Burr
    The bottom line: Any movie that gives Jonathan Winters work is doing something right.
    • 55 Metascore
    • 50 Ty Burr
    What it is is watchable, a thoroughly professional piece of Great Man hackwork that lacks the invention and spirit of its obvious model, "Shakespeare in Love.''
    • 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.
    • 69 Metascore
    • 50 Ty Burr
    A sizable amount of national pride is on display in Ong-Bak.
    • 43 Metascore
    • 50 Ty Burr
    It's a smart, provocative idea for a movie. I wish 9 Songs was that movie.
    • 60 Metascore
    • 50 Ty Burr
    The first hour of Magic Mike XXL is deadly.
    • 45 Metascore
    • 50 Ty Burr
    Those who love police overkill, guns, jingoistic race-baiting, guns, macho smugness, and guns will be well served.
    • 53 Metascore
    • 50 Ty Burr
    Lubezki is arguably this movie’s secret star, and he invests the movie’s Los Angeles settings with the strangeness and newness of a NASA rover traveling across Mars.
    • 51 Metascore
    • 50 Ty Burr
    Glib, fast-paced entertainment that barely leaves a mark - which, given the subject, is just plain wrong.
    • 34 Metascore
    • 50 Ty Burr
    The movie makes me finally want to test-drive one of the “Dark Tower” novels, if only to see what King himself was able to bring to the party. Maybe that’s been his evil plan all along.
    • 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.
    • 49 Metascore
    • 50 Ty Burr
    Affleck the screenwriter seems to have dumped the story onto the kitchen table and pushed it around like dough, hoping for some shape to emerge. It resists.
    • 56 Metascore
    • 50 Ty Burr
    Everyone in the film is an uninteresting grotesque.
    • 39 Metascore
    • 50 Ty Burr
    Life as We Know It gives bland and predictable a good name.
    • 48 Metascore
    • 50 Ty Burr
    Paris Can Wait is Coppola’s feature solo writing-directing debut, filmed in her 80th year. It would be cheering to report that it’s a great movie, but you can’t have everything.
    • 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).
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    The director’s first real misfire, a meditation on love and lost paradise that starts with breathtaking assurance and slowly crumbles into self-parody.
    • 44 Metascore
    • 50 Ty Burr
    This prompts the perverse thought that By the Sea may simply exist as a movie for Angelina Jolie and Brad Pitt to watch. It’s two hours of vacation, voyeurism, and celebrity marriage therapy, and you and I aren’t actually invited.
    • 50 Metascore
    • 50 Ty Burr
    That Prom plays as pleasantly and inoffensively as it does is due to the performances, particularly McDonell as the rebellious Jesse.
    • 68 Metascore
    • 50 Ty Burr
    Monster House is the first horror comedy made exclusively for fourth-graders.
    • 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.
    • 61 Metascore
    • 50 Ty Burr
    With Trance, story becomes just another element in Boyle’s commercial pop-Cubism, and the results are nearly fatal.
    • 31 Metascore
    • 50 Ty Burr
    Goldsman takes Helprin’s book — a work overflowing with events, ideas, characters, passions — and pounds away at it until all that’s left is mush.
    • 59 Metascore
    • 50 Ty Burr
    The carnage is cartoonishly graphic, but the onlookers watching through binoculars from a nearby sandy bluff are impressed.
    • 63 Metascore
    • 50 Ty Burr
    Formulaic enough to suggest that franchise would be B level at best, a TV series at worst. But it's also just good enough to make you want to watch it, anyway.
    • 54 Metascore
    • 50 Ty Burr
    Like Life itself, this alien is nasty, brutish, and short.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    An acrid family affair that has been aggressively over-directed by the talented Oren Moverman (“The Messenger”) and brought to intermittent life by a very good cast.
    • 65 Metascore
    • 50 Ty Burr
    Watching Prometheus is like opening a deluxe gift box from Tiffany's to find a mug from the dollar store.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Ty Burr
    It's ''Hannah and Her Sisters'' with all the emotions and half the artistry.
    • 44 Metascore
    • 50 Ty Burr
    Hot gospel singing and earnest family squabbles are all that distinguish Joyful Noise.
    • 53 Metascore
    • 50 Ty Burr
    I'm still not convinced we needed a new Spider-Man series, but at least this installment is interestingly mediocre instead of actively bad.
    • 62 Metascore
    • 50 Ty Burr
    Story lines don't come any clammier.
    • 72 Metascore
    • 50 Ty Burr
    ParaNorman is supposedly for kids, but it's really aimed at their snarky older brothers, and it illustrates the limits of the new family creepshows.
    • 80 Metascore
    • 50 Ty Burr
    Watching Melancholia is like being stuck next to a brilliant depressive at a dinner party. The food is exquisite, the conversation scintillating, and the longer you sit there the more trapped you feel in another man's all-encompassing gloom.
    • 36 Metascore
    • 50 Ty Burr
    A well-made, reasonably diverting night at the multiplex that will seem overly familiar to everyone except teenage girls.
    • 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.
    • 46 Metascore
    • 50 Ty Burr
    An acceptable but uninspired simulacrum: an overly faithful multiplex translation of a very, very popular airport novel.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Ty Burr
    Whatever Works is very minor Woody, querulous, fitfully funny, and removed from any shared reality.
    • 52 Metascore
    • 50 Ty Burr
    Point is, the property is running on bald tires, and, for all its ear-splitting racket and lavish effects, “Apocalypse” is the barest of retreads.
    • 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.
    • 45 Metascore
    • 50 Ty Burr
    Isn't just lame; it's neutered.
    • 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.
    • 53 Metascore
    • 50 Ty Burr
    Directing the film version, Lee gets lost in the grotesque pomp of the halftime spectacle and its lead-up. He gets fine performances from the actors playing the soldiers and a terrible one from Stewart, who flails her arms like an amateur. Martin’s role is beneath his talents, while Vin Diesel’s, as a Zen warrior of a sergeant, is almost beyond belief.
    • 34 Metascore
    • 50 Ty Burr
    Completely unnecessary but painless, like dentistry performed by mimes.
    • 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.
    • 50 Metascore
    • 50 Ty Burr
    It's just another happily idiotic Will Ferrell comedy, ably directed by Jay Roach ("Meet the Parents," "Dinner for Schmucks") and tossing its bawdy jokes at the side of the barn.
    • 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.
    • 50 Metascore
    • 50 Ty Burr
    Of the two French films opening in the Boston area today - "Beloved" is the other - Little White Lies is the less ambitious, more watchable, and ultimately more annoying.
    • 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.
    • 47 Metascore
    • 50 Ty Burr
    It's the sort of thing you'll either find enchanting or an excellent reason to reach for the Scotch.
    • 57 Metascore
    • 50 Ty Burr
    This Equalizer is a brooding, brutal origin tale, one that starts well but steadily caves into genre clichés. It’s a B-movie sheep in A-movie clothing, acceptable meathead mayhem as long as you know what you’re paying for.
    • 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.
    • 47 Metascore
    • 50 Ty Burr
    Blandly noisy and inoffensively average.
    • 60 Metascore
    • 50 Ty Burr
    I know the opening credits for a James Bond movie are supposed to be silly, but the start of Spectre achieves almost orgasmic levels of kitsch.
    • 45 Metascore
    • 50 Ty Burr
    To press the point, there is absolutely no need for a fourth Pirates of the Caribbean.
    • 49 Metascore
    • 50 Ty Burr
    This is back-to-basics stuff, which turns out to be not such a bad idea.
    • 68 Metascore
    • 50 Ty Burr
    As documentaries go, it's an able introduction that doesn't make its subject nearly as relevant to our current discontents as it could.
    • 63 Metascore
    • 50 Ty Burr
    The Hunter becomes turgid with corporate conspiracies, hired assassins, and offscreen tragedies, and the appealing leanness of the early scenes gets lost.
    • 53 Metascore
    • 50 Ty Burr
    The film is unobjectionable, sentimental, and not a little dull.
    • 56 Metascore
    • 50 Ty Burr
    Like Jolie's public persona, Blood and Honey is both strong and headstrong, equally invested in grit and glamour with a hazy understanding of the line separating the two.
    • 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.
    • 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
    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.
    • 51 Metascore
    • 50 Ty Burr
    Only Jane, as the cop who knows exactly what Mrs. Collins’s wayward daughter needs, has the sense of threat the movie is seeking. His and Woodley’s scenes together are dirty and alive.
    • 59 Metascore
    • 50 Ty Burr
    The movie has a problem, too: Spall is likable, Kazan is adorable, Driver is amusing enough as the blowhard best friend, and Radcliffe as Wallace is . . . a passive-aggressive lump.
    • 44 Metascore
    • 50 Ty Burr
    It’s entertaining enough if you turn your brain off.
    • 58 Metascore
    • 50 Ty Burr
    There’s a line between enjoyably stupid and stupid-stupid, and Nerve sails over it right around the halfway mark.
    • 66 Metascore
    • 50 Ty Burr
    Here is where All Is By My Side runs into trouble. The real Etchingham has said, forcibly, that this didn’t happen — not the beating nor her subsequent attempted suicide, shown in the film.
    • 63 Metascore
    • 50 Ty Burr
    A mostly lumbering, occasionally rousing epic that walks a bizarre line between historical fact and Hollywood wishful thinking.
    • 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.
    • 39 Metascore
    • 50 Ty Burr
    The Sitter pushes the envelope with such sloppy gusto that you have to give in occasionally, and its comic timing finds its rhythm about every fifth joke.
    • 58 Metascore
    • 50 Ty Burr
    Does have the enclosed, slightly overheated feel of a family theatrical.
    • 63 Metascore
    • 50 Ty Burr
    Shallow and proud of it, an antic cartoon that lacks the comic inspiration to go the distance.
    • 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.
    • 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.
    • 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?
    • 54 Metascore
    • 50 Ty Burr
    The chief culprits are Townsend's TV-movie characterizations and a very muddled message.
    • 43 Metascore
    • 50 Ty Burr
    Skips lightly along the sewers of human depravity as if the trip alone was worth the telling.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Ty Burr
    The results are exactly as patchwork as that sounds, with sequences of rowdy, sacrilegious invention punctuated by long spells of tedium.
    • 50 Metascore
    • 50 Ty Burr
    Little kids, of course, will swallow it whole without thinking twice.
    • 51 Metascore
    • 50 Ty Burr
    Even the portrayal of the Hasidic community comes to feel like window-dressing, welcome for its exoticism but never truly understood.
    • 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.
    • 60 Metascore
    • 50 Ty Burr
    RED
    "The Expendables" trotted out the concept this summer, and it was good dumb fun - a nudge-nudge wink-wink '80s movie on steroids. RED is more self-consciously wacky, more stridently in your face, and more disappointing.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Ty Burr
    The man inside that legend has yet to come into focus 40 years on. Morrison wanted the world and he wanted it now, and he got it. What When You’re Strange can’t admit is that he had no idea what to do next.
    • 51 Metascore
    • 50 Ty Burr
    Sensitively written, nicely shot, expertly acted, and intelligently ambiguous, Nobody Walks still manages to send you out with a shrug.
    • 56 Metascore
    • 50 Ty Burr
    Race wants so badly to get every last bit of the big picture that it dashes past the little details that actually tell a story. Like an over-trained athlete who pulls a hamstring in the big race, the movie tries to do it all and comes up short.
    • 64 Metascore
    • 50 Ty Burr
    It’s a cheat, a cash grab, and it makes for 125 dystopian minutes of set-up with no resolution. But come back next November, folks, and we’ll show you the rest! They should have called it “Mockingjay, Part 1 — The Shakedown.” Or “The Hunger Games 3: Rubble Without a Cause.”
    • 62 Metascore
    • 50 Ty Burr
    They’re calling it a movie, but no matter how you squint at it it’s a TV show.
    • 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.
    • 43 Metascore
    • 50 Ty Burr
    Reilly gives it his all, and he’s both very enjoyable and about as scary as a stubbed toe.
    • 43 Metascore
    • 50 Ty Burr
    All thing considered, MacGruber’ is a lot better than it should be. That still doesn’t mean it’s all that great.
    • 43 Metascore
    • 50 Ty Burr
    The only laugh to be had in Total Recall, a ripsnorting sci-fi action extravaganza that starts well and works its way down to average, is in the opening credits, where we learn that the movie's primary production company is called Original Film. Really?
    • 57 Metascore
    • 50 Ty Burr
    Benton has laid bare a great author's creaky plotting only to deliver a melodrama with bookish pretensions.
    • 51 Metascore
    • 50 Ty Burr
    What’s nice about this movie, actually, is that you can get a few shameless laughs out of it and then forget you saw it at all.
    • 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?
    • 72 Metascore
    • 50 Ty Burr
    A structural mess that turns contrived just when it should be hitting home.
    • 65 Metascore
    • 50 Ty Burr
    Isn't a first-date movie. As a third -date movie, though, it's just about perfect.
    • 67 Metascore
    • 50 Ty Burr
    There’s a lot of talent here and a lot of enthusiasm; also a lot of influences that haven’t been successfully reprocessed into something convincing or fresh. It’s a mess, but a reasonably charming one.
    • 40 Metascore
    • 50 Ty Burr
    A tawdry, predictable hunk of movie headcheese, and I still had a pretty good time with it.
    • 44 Metascore
    • 50 Ty Burr
    It plants a flag for a new corporate entertainment franchise and it will make international containerships of money, so does it matter that Batman v Superman: Dawn of Justice is joyless and incoherent? Probably not.
    • 46 Metascore
    • 50 Ty Burr
    Just a limp, jokey family film that wants to have its fairy tale magic and its hip irony, too.
    • 53 Metascore
    • 50 Ty Burr
    Mostly, though, Being Flynn is memorable for the sight of a once-great actor rousing himself to a performance the movie itself isn't prepared to handle.
    • 70 Metascore
    • 50 Ty Burr
    Something to see and little to remember, an acrid character study undone by narrative implausibilities and its own lack of purpose.
    • 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.
    • 52 Metascore
    • 50 Ty Burr
    All this manic invention is great fun for a while, until Tai Chi Zero falls apart on the rocks of the eternal verities: story, acting, direction.
    • 63 Metascore
    • 50 Ty Burr
    The first Guy Maddin movie that feels as if it got only halfway out of the director's head and onto the screen.
    • 72 Metascore
    • 50 Ty Burr
    An amiable if not especially urgent celebration of the life and work of Wayne White.
    • 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.
    • 72 Metascore
    • 50 Ty Burr
    It's pure plastic product from plot line to the pro forma 3-D to the tidy moral lessons - ersatz family entertainment as disposable as it is diverting. It made me want to go read a book.
    • 43 Metascore
    • 50 Ty Burr
    Machine Gun Preacher is crude and ham-handed from its ridiculous title on down, but it still gets to some interesting places.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Ty Burr
    Amirpour has the potential to see things as no other filmmaker does, but she doesn’t yet have a vision, and she may not as long as she keeps fiddling around with genre conventions laid down by others. She’s an eccentric magpie of a director, and this time the pieces she collects glitter but never quite cohere.
    • 67 Metascore
    • 50 Ty Burr
    Time to Leave is an unintended litmus test for lovers of foreign films.
    • 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.
    • 65 Metascore
    • 50 Ty Burr
    It's both achingly affectionate and a terrible mess.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Ty Burr
    Begin Again is pleasantly predictable if you’re in an undemanding mood. If you’re not, it’s unbearable, like hearing a treasured folk song given a Hot 97 makeover.
    • 61 Metascore
    • 50 Ty Burr
    Bahrani is brilliant at small gestures and the way they can speak volumes, but in At Any Price he’s aiming for grand tragedy, and he doesn’t yet have the knack. The pacing of the final act is uncertain; the epic sweep doesn’t arrive.
    • 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.
    • 55 Metascore
    • 50 Ty Burr
    An important film, on an important subject, that has had the life beaten out of it by Robert Redford, a man who should know better.
    • 44 Metascore
    • 50 Ty Burr
    Which is precisely what’s missing from Oz the Great and Powerful: that sense of emotional journey.
    • 42 Metascore
    • 50 Ty Burr
    It’s the kind of Hollywood formula product that proves why the formula’s so hard to kill: simultaneously easy to like and impossible to respect.
    • 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.
    • 55 Metascore
    • 50 Ty Burr
    After a long run of baroquely plotted crime dramas like "Layer Cake'' and "Lock, Stock and Two Smoking Barrels,'' it's a little depressing to come across a vigilante drama whose sole twist is its protagonist's advanced age.
    • 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.
    • 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.
    • 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?
    • 60 Metascore
    • 50 Ty Burr
    Involving and sometimes comically bleak but never fully convincing as drama.
    • 45 Metascore
    • 50 Ty Burr
    The filmmaker’s uncertainty shows itself in drably functional camerawork and an over-reliance on Christophe Beck’s tasteful piano-and-violin score.
    • 39 Metascore
    • 50 Ty Burr
    Before this urban revenge melodrama falls apart in a clatter of plot absurdities and pretensions, it has its loopy charms.
    • 46 Metascore
    • 50 Ty Burr
    Dawdles amiably and can't quite decide what it wants to be.
    • 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.
    • 60 Metascore
    • 50 Ty Burr
    An opaque kidnapping drama that features three expertly crafted performances operating on three different planets.
    • 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.
    • 63 Metascore
    • 50 Ty Burr
    Well intentioned on every level, the movie is successful only on some, and it falls flat when trying to visualize the innards of the poem itself.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    You realize the movie isn’t nearly as clever as it looks.
    • 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.
    • 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.
    • 38 Metascore
    • 50 Ty Burr
    The movie equivalent of a box of generic macaroni and cheese: bland, easily digested, comforting, forgettable.
    • 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.
    • 54 Metascore
    • 50 Ty Burr
    Above all, it is predictable.
    • 39 Metascore
    • 50 Ty Burr
    One walks out of Man of the Year aching for the squandered opportunities.
    • 52 Metascore
    • 50 Ty Burr
    It’s a great story, and much of it’s true. This should work like a pip. Instead, The Monuments Men is a tonal mishmash: Half “Hogan’s Post-Doctoral Heroes,” half “Saving Private Rembrandt,” and half “Ingres’s 11.” That’s three halves, so you can see the problem.
    • 55 Metascore
    • 50 Ty Burr
    Contains more than its share of implausibilities and absurdities.
    • 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.
    • 42 Metascore
    • 50 Ty Burr
    The film's final scenes are among its silliest, unfortunately.
    • 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.
    • 64 Metascore
    • 50 Ty Burr
    This is a buddy movie in which one of the buddies is dead. Yet, if anything, the emotional bonding is — or wants to be — more resonant than ever.
    • 50 Metascore
    • 50 Ty Burr
    Orwellian paranoia doesn’t die, it just gets fresh trimmings, and while The Zero Theorem is as messy and overstuffed as Fibber McGilliam’s closet, its sorrow and anger and demented humor strike just enough fresh sparks to keep this career alive.
    • 33 Metascore
    • 50 Ty Burr
    It's a surprisingly joyless mash-up of every bit of fanboy flotsam floating around in its maker's cranium.
    • 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.
    • 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.
    • 72 Metascore
    • 50 Ty Burr
    These are some of the questions raised and left on the table in the fascinating but frustratingly murky Author: The JT Leroy Story, a documentary by Jeff Feuerzeig that’s worth seeing if only to argue with the movie and with yourself.
    • 64 Metascore
    • 50 Ty Burr
    The Way is a good, cheap vacation. At times, you wonder if Estevez isn't creating a cracked therapeutic remake of "The Wizard of Oz.'' He's got the nerve and the heart, all right. I'm less sure about the brains.
    • 44 Metascore
    • 50 Ty Burr
    It’s an August dog-day special, in other words: a few easy laughs, one or two flashes of inspiration, and enough sentimentality to ensure that no one actually gets hurt.
    • 50 Metascore
    • 50 Ty Burr
    Both provocative and muddled, the film's a moody, passive-aggressive tract that's buoyed by superior performances and sunk by its own uncertainties. An alternate title might be "The Joylessness of Sex."
    • 57 Metascore
    • 50 Ty Burr
    It very much wants to be "Garden State" five years down the line.
    • 43 Metascore
    • 50 Ty Burr
    What’s missing is the assurance of tone that a Lumet would provide.
    • 56 Metascore
    • 50 Ty Burr
    It’s a watchable disappointment that leaves mostly frustration in its wake.
    • 56 Metascore
    • 50 Ty Burr
    The film squeezes out its feel-good messages like toothpaste from a tube.
    • 44 Metascore
    • 50 Ty Burr
    If this is daring in theory, it's a failure in practice. Exactingly well-made, the movie is grueling and unpleasant in the extreme - that's the point - but it's also working from a specious premise, that film-school Brechtian devices can bring on mass enlightenment.
    • 49 Metascore
    • 50 Ty Burr
    As the implausibilities and conspiracies and double-crosses pile up, Broken City paints itself into a corner. A plot can be confusing as long as the filmmakers themselves don't seem confused, but that's not the case here.
    • 40 Metascore
    • 50 Ty Burr
    Something has been lost in the translation, and it's not just the script.
    • 16 Metascore
    • 50 Ty Burr
    An intensely unpleasant killer-thriller mystery.
    • 52 Metascore
    • 50 Ty Burr
    Haggis finally finds the movie's groove late in the game, and the escape sequence itself is hectic, suspenseful, and enjoyably ridiculous.
    • 53 Metascore
    • 50 Ty Burr
    The film is very near a comedy, and I'm not sure that's on purpose.
    • 49 Metascore
    • 50 Ty Burr
    The Mighty Macs sticks so closely to the underdog-sports-movie playbook that it's practically generic.
    • 43 Metascore
    • 50 Ty Burr
    A comparison to Baz Luhrmann is useful: Where Taymor self-consciously aestheticizes pop vulgarity, a movie like "Moulin Rouge!" just dives right in.

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