For 2,311 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 3.3 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Capturing the Friedmans
Lowest review score: 0 The Nutcracker
Score distribution:
2311 movie reviews
    • 73 Metascore
    • 75 Ty Burr
    Its strength and limitation is that it’s a gimmick that works.
    • 74 Metascore
    • 75 Ty Burr
    In the Shadow of Women, a portrait of a troubled French marriage, has the simplicity and subtle punch of a good short story.
    • 82 Metascore
    • 75 Ty Burr
    If you can adjust to its rhythms, which move according to the seasons and to long-held family grudges, you’ll find it quietly funny, sometimes quite sad, and ultimately rather profound. If you can’t, you’ll be left in the cold with the sheep.
    • 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.
    • 57 Metascore
    • 38 Ty Burr
    The movie plays like a global-political farce made by people who’ve never left the Upper West Side.
    • 52 Metascore
    • 38 Ty Burr
    There’s a reason the movie has been pushed off the back of the truck into late February. It’s damaged goods.
    • 90 Metascore
    • 88 Ty Burr
    Takahata and his animators balance aspects of nostalgia and the present day, urban modernity and rural timelessness, love and regret with a visual and aural sensitivity that draws a viewer in from the first frames.
    • 60 Metascore
    • 63 Ty Burr
    A lot of this is naughty, overproduced egghead fun, and the scenes between Eisenstein and Canedo simmer with sexual tension. But too much is never enough for Greenaway, and while the leading men give bravura performances, the supporting cast is weak — Lisa Owen as Mrs. Upton Sinclair is actively dreadful — and the film’s hyperactivity ultimately wears you down.
    • 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.
    • 83 Metascore
    • 88 Ty Burr
    This startling, assured feature debut from New Hampshire-born, Brooklyn-based writer-director Robert Eggers has one foot in early American history and another in legend and fairy tale.
    • 75 Metascore
    • 75 Ty Burr
    In its occasionally over-gentle way, the documentary testifies to the ego necessary to be a great star and to live a great life.
    • 34 Metascore
    • 38 Ty Burr
    This needless sequel amps the silliness to DEFCON-4 levels of frantic surrealism and overstuffs the running time with famous faces. It’s a pop quiz instead of a movie, and it’ll be dated by tomorrow morning.
    • 62 Metascore
    • 75 Ty Burr
    Dreams Rewired is scattered by necessity and intent, and it throws off enough sparks to set your brain reeling.
    • 72 Metascore
    • 88 Ty Burr
    There are the serious Coen brothers movies, like “No Country for Old Men” and, um, “A Serious Man,” and there are the not-so-serious ones. Hail, Caesar! is the opposite of their serious ones, and it is delightful.
    • 70 Metascore
    • 75 Ty Burr
    The Lady in the Van ultimately presents a number of facts that would seem to “solve” Mary Shepherd. I’d like to think Smith knows better than that. In her hands, the lady in the van remains complex and unknowable — a mystery to the end. And that, friends, is acting.
    • 58 Metascore
    • 63 Ty Burr
    It’s a movie made for the kind of audiences who feel that movies aren’t made for them anymore — you know who you are. If you go, you might want to bring a raincoat.
    • 89 Metascore
    • 88 Ty Burr
    On the whole it’s daring and committed, and in Röhrig’s tremendously focused performance, it honors all the saints we’ll never know. And that’s worth any risk.
    • 94 Metascore
    • 100 Ty Burr
    I emerged from the movie in a white-out haze of emotions, synapses overloaded, grateful beyond words to an actress who can convey so much with such subtlety of means.
    • 83 Metascore
    • 88 Ty Burr
    Mustang is a damning portrait of the lot of women in rural Turkish society, but its outrage and empathy spill over the sides of the movie to embrace the planet as a whole — anywhere a woman is condemned for all the thoughts others have about her.
    • 74 Metascore
    • 75 Ty Burr
    I’d like to think of the singer watching this movie somewhere, nodding in thanks at what it gets right and howling with laughter at what it misses.
    • 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.
    • 76 Metascore
    • 75 Ty Burr
    Iñárritu has his eye so firmly on the myths of America that he loses sight of the men who made them. But he’s hardly the first person to do that.
    • 68 Metascore
    • 75 Ty Burr
    This is a movie that’s 168 minutes only because Quentin Tarantino is an uncontainable Rabelasian. He believes that more is more. And sometimes it is. But a truly great craftsman knows where to locate the line.
    • 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.
    • 95 Metascore
    • 100 Ty Burr
    Carol is a movie to drink in with eyes, ears, and sensibilities.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    When the new movie wings it, it sputters but clears the runway. When it sticks to the script, it crashes and burns.
    • 81 Metascore
    • 88 Ty Burr
    Abrams understands what George Lucas never quite figured out: that we’re less interested in the science fiction future than we are in revisiting the past. We don’t really want to see what happens next in that galaxy far, far away. We want to recapture what it felt like the first time we arrived, in 1977, with a movie called “Star Wars.” We want to go home. Star Wars: The Force Awakens takes us there.
    • 47 Metascore
    • 38 Ty Burr
    In the Heart of the Sea plays as if the joke was real and everyone on the production had caved in. The result, as a movie, is a joke.
    • 64 Metascore
    • 63 Ty Burr
    Youth is, among many other things, a lovely valentine to both Caine and Keitel, two performers who have seen it all and know what to do with it.

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