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 Le Cercle Rouge (re-release)
Lowest review score: 0 All About Steve
Score distribution:
2266 movie reviews
    • 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
    The actors are excellent, as are the bruising re-creations of the firefight and the uncountable injuries sustained.
    • 68 Metascore
    • 63 Ty Burr
    As a depiction of extralegal activity, 12 O’Clock Boys is eye-opening but sometimes needlessly ambiguous.
    • 56 Metascore
    • 63 Ty Burr
    Writers John W. Richardson, Chris Roach, and Ryan Engle bet that the central hook — Who’s the bad guy? How’s he doing this? — will keep us paying attention. And they’re right.
    • 51 Metascore
    • 63 Ty Burr
    The result isn’t a great movie, but it is an excellent guilty pleasure.
    • 68 Metascore
    • 63 Ty Burr
    Noah is equal parts ridiculous and magnificent, a showman’s folly and a madman’s epic.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 63 Ty Burr
    With an aptness that may even be intentional, The Double feels both over-familiar and oddly new. It’s safe to call it a Kafka-esque tale, even though the Fyodor Dostoyevsky novel from which the movie is adapted was written in 1846.
    • 73 Metascore
    • 63 Ty Burr
    You may be put in mind of HBO’s recent “True Detective” — the low-down Southern locations, the time period (here the mid-1980s), some truly horrible crimes, a general air of diseased moralism — but Cold in July, while stylishly done, isn’t close to that good.
    • 69 Metascore
    • 63 Ty Burr
    Intelligent and earnest, The Fault in Our Stars works well enough to keep a doubter from feeling mugged by sentiment.
    • 49 Metascore
    • 63 Ty Burr
    Enjoyable, occasionally grueling, and overstuffed with incident and agenda.
    • 64 Metascore
    • 63 Ty Burr
    Yet for all the love emanating from client-pals Michael Douglas, Sylvester Stallone, Emeril Lagasse, and Steven Tyler, there’s a sadness to this movie that remains just off camera.
    • 65 Metascore
    • 63 Ty Burr
    Rossi gives us a survey course when what we need is a seminar; the movie is a useful “What’s Wrong With College 101” but the advanced study remains to be done.
    • 38 Metascore
    • 63 Ty Burr
    Third Person staggers well over the two-hour mark only to self-destruct in a burst of overwrought cleverness.
    • 57 Metascore
    • 63 Ty Burr
    As a director, Cahill’s a capable and sometimes breathtaking stylist, and he accomplishes remarkable things on a modest budget, topping up the visuals with patterns, rhymes, and concordances.
    • 44 Metascore
    • 63 Ty Burr
    Bring on the bread and circuses. Into the Storm features laughable dialogue, far-fetched situations, and generic characters played by actors who almost look like more famous stars. I still had a blast; and if you lower your resistance, you may too.
    • 75 Metascore
    • 63 Ty Burr
    Walking a line between droll comedy and a darker, more unsettling drama that the filmmakers aren’t quite up to, Frank is an entertaining curio with flashes of inspiration. That’s also a pretty good description of Frank’s music.
    • 74 Metascore
    • 63 Ty Burr
    The bitter, funny dialogue by director Craig Johnson and co-writer Mark Heyman gives the two stars room to work both comic and dramatic sides of their gifts.
    • 57 Metascore
    • 63 Ty Burr
    An elegantly made, almost unbearably depressing tale of WWII-era deprivation and survival.
    • 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.
    • 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.
    • 63 Metascore
    • 63 Ty Burr
    There are enough indie clichés to blunt this movie’s edge.
    • 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.
    • 56 Metascore
    • 63 Ty Burr
    It’s a handsomely mounted, intentionally claustrophobic film; too claustrophobic over the long haul, with relentless close-ups that constrict the galvanic emotions on display.
    • 52 Metascore
    • 63 Ty Burr
    Scott’s “Exodus” is dutiful, deeply earnest, and more than a little dull.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.”
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 63 Ty Burr
    Good Kill is by necessity a grim piece of work, one that fields a powerful and unexpectedly terse performance from Ethan Hawke while stumbling over plot developments that seem increasingly forced. Niccol can be forgiven his outrage even as it leads him to create drama out of agenda instead of the other way around.
    • 66 Metascore
    • 63 Ty Burr
    Even in the city’s most crowded place, Giroux makes his lovers seem like the only couple on Earth.
    • 68 Metascore
    • 63 Ty Burr
    Less a straight doc than a psycho-cinematic inquiry into unknown territory, it’s really something to see. Whether it’s something to believe is another matter.
    • 73 Metascore
    • 63 Ty Burr
    What happens when a rigorously non-mainstream filmmaker tries to reverse-engineer a mainstream romantic comedy? The result, in all its charming perversity, is Results.
    • 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.
    • 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.
    • 74 Metascore
    • 63 Ty Burr
    In other words, this movie isn’t just about an adolescent boy — it pretty much is an adolescent boy.
    • 65 Metascore
    • 63 Ty Burr
    A bonbon of embarrassment comedy.
    • 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.
    • 69 Metascore
    • 63 Ty Burr
    The movie’s a comedy. And while it has its charms, Swanberg is tilling soil here that has been churned since humanity began, and he doesn’t come up with very much that’s new.
    • 72 Metascore
    • 63 Ty Burr
    One of the director’s more superficial efforts; it’s watchable but glib.
    • 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.
    • 82 Metascore
    • 63 Ty Burr
    The dark nihilism of Sicario masks a reliance on easier solutions, ones we’ve been fed by decades of genre films and that feed our need for justice dispensed with violent, vengeful directness. The movie promises to clear the fetid air around the drug wars. In the end it’s just another drug.
    • 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.
    • 66 Metascore
    • 63 Ty Burr
    This is a film that believes deeply in ghosts, and half of them are in its director’s head.
    • 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.
    • 66 Metascore
    • 63 Ty Burr
    The Danish Gir” wants to introduce us to a woman who helped forge a new way of thinking about what defines a person as a man or a woman. Mostly, though, it’s about the joy of sets.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 63 Ty Burr
    It’s all deeply felt and just as deeply unfocused, and that, more than the invented story line, betrays the movie’s subject.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 63 Ty Burr
    As visually overstuffed as a hoarder’s apartment, the movie improves as it goes.
    • 55 Metascore
    • 63 Ty Burr
    An acceptable time-waster for a slow day in a movie theater or a slow night on cable. But it never makes you mad as hell, so what’s the point?
    • 70 Metascore
    • 63 Ty Burr
    For a movie predicated on slapstick forward momentum, we spend an awful lot of time driving backward.
    • 60 Metascore
    • 63 Ty Burr
    The movie is genial, sloppy, slightly above average summer movie fun.
    • 75 Metascore
    • 63 Ty Burr
    Charming, melancholy, and, in the end, not terribly memorable.
    • 58 Metascore
    • 63 Ty Burr
    It exists for no other reason than that people like Matt Damon, they like him as this character, and the producers know audiences are willing to see more of him.
    • 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.
    • 71 Metascore
    • 63 Ty Burr
    [A] stagy, troubling, bizarrely entertaining movie.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 63 Ty Burr
    If only the movie had the courage to be as gonzo as it wants to be!
    • 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.
    • 42 Metascore
    • 63 Ty Burr
    Inferno is the exact cinematic equivalent of an airport paperback, which is what’s fine and forgettable about it.
    • 67 Metascore
    • 63 Ty Burr
    I don’t mean it as a cheap shot, but Nocturnal Animals is very like an exquisitely rendered window display. It’s something at which you pause and peer into and catch your breath — and then move on.
    • 60 Metascore
    • 63 Ty Burr
    This is not a well-made film but it is an enjoyable one, in part because it’s genuinely unpredictable and in part because it’s a pleasure to see one of the great stars of his era on a movie screen once more.
    • 65 Metascore
    • 63 Ty Burr
    The cast does good work, despite a less-than-great screenplay.
    • 69 Metascore
    • 63 Ty Burr
    Lion is shameless and heartfelt and you’ll probably have a good, happy cry at the end. When a story pushes buttons so deeply wired into our consciousness...craft seems almost beside the point.
    • 49 Metascore
    • 63 Ty Burr
    The movie's an easy, engaging watch, even if it's literally all over the map.
    • 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.
    • 67 Metascore
    • 63 Ty Burr
    T2 Trainspotting wears out its welcome slowly, like a group of old men running out of stories to tell in an afternoon pub.
    • 54 Metascore
    • 63 Ty Burr
    At times in Song to Song, the effect is mesmerizing, mostly when Mara is onscreen in all her tremulous bioluminescence.
    • 57 Metascore
    • 63 Ty Burr
    And there you have the problem with The Zookeeper’s Wife: Dialogue and plotting that keep this inspirational, mostly true story earthbound by hitting every note with a hammer.
    • 50 Metascore
    • 63 Ty Burr
    The 1979 film was both more casual and much darker about the realities and infirmities of old age, and it had one of George Burns’s better performances. It was a funny, touching experience, and it was a bitter pill. The new movie is a placebo, with Hallmark emotions put over by a cast of solid-gold professionals.
    • 75 Metascore
    • 63 Ty Burr
    The title itself is a marquee-buster that bites off more than it can chew. So does the movie’s main character and so does the movie. But the chewing’s interesting and there’s food for thought here, not to mention a central performance that may stick to your ribs for quite some time.
    • 67 Metascore
    • 63 Ty Burr
    The sharp comic timing and devil-may-care breeziness of the original only return intermittently, and the new film’s emphasis is on family feuds and forgiveness. It’s heavy on the feels. There are hugs.
    • 72 Metascore
    • 63 Ty Burr
    According to the closing credits, My Entire High School was six years in the making and is clearly something that Shaw felt he had to get out of his system with his feature film-directing debut. Mission accomplished, and very stylishly, too.
    • 63 Metascore
    • 63 Ty Burr
    My Cousin Rachel is a well-turned, well-acted literary adaptation that suffers from a built-in problem: The hero is a twit.
    • 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.
    • 51 Metascore
    • 63 Ty Burr
    In short, Besson builds a dazzling alterna-universe — a bit of Terry Gilliam, a dash of “Blade Runner,” a smidgen of “Star Wars” (which, to be fair, was probably influenced by the original comic), and a lot of extra-strength Besson-ian whimsy. And then he strands us with the two least interesting people there.
    • 66 Metascore
    • 63 Ty Burr
    It’s just another wry New York family-dysfunction farce, with a stronger supporting cast and (slightly) better production values than Robespierre’s first film but also a propensity for playing it safe and dulling the pain just when the pain should be sharpest.
    • 78 Metascore
    • 63 Ty Burr
    The new movie, a heist comedy, has been described in some quarters as “Ocean’s 11” for the NASCAR crowd, and that’s not wrong. It also feels like the director is trying to reverse-engineer one of the Coen brothers’ loopier excursions and not getting every one of the pieces in order.
    • 74 Metascore
    • 58 Ty Burr
    Judging by the title, though, Sprecher made the movie she wanted to make, and if you're in the right damp-wool mood, you may connect with it too.
    • 66 Metascore
    • 58 Ty Burr
    It's a little short on coherence and long on comic-book sensationalism -- dig the hokey, climactic Battle of the Minds between the hero and a cadaverous Mr. Big -- but there's no denying the nightmarish pull of the film's aesthetic.
    • 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.
    • 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.
    • 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.
    • 32 Metascore
    • 50 Ty Burr
    Shabbily filmed, thoroughly harmless Official Product.
    • 44 Metascore
    • 50 Ty Burr
    Explicit yet consistently unerotic. It's also intensely sad, capturing everything about these people except the high they ceaselessly chase.
    • 65 Metascore
    • 50 Ty Burr
    Isn't a first-date movie. As a third -date movie, though, it's just about perfect.
    • 33 Metascore
    • 50 Ty Burr
    In a better movie -- a much better movie -- LaBeouf might make the same sort of impact Dustin Hoffman did in ''The Graduate.'' But the kid's young. There are movies to come.
    • 49 Metascore
    • 50 Ty Burr
    Still as moth-eaten as a Bengal tiger rug on the floor of a London men's club.
    • 44 Metascore
    • 50 Ty Burr
    It's ''Hannah and Her Sisters'' with all the emotions and half the artistry.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    So appallingly slipshod in all the usual departments is this sequel to the engaging martial-arts comedy Western ''Shanghai Noon'' that you're tempted to cite its makers for contempt.
    • 57 Metascore
    • 50 Ty Burr
    It's an actor's film, all right -- peppered with rich supporting performances but unconvincing in the telling.
    • 51 Metascore
    • 50 Ty Burr
    Wonderful characters, these three, and The Hard Word never figures out what to do with them.
    • 70 Metascore
    • 50 Ty Burr
    Hoffman confessed he was drawn to the role because ''this was a guy who didn't know how to feel, and I found that fascinating.'' His challenge is our frustration
    • 42 Metascore
    • 50 Ty Burr
    The film's final scenes are among its silliest, unfortunately.
    • 61 Metascore
    • 50 Ty Burr
    The people who've made White Oleander appear to have spent a lot of time worrying about the audience. They should have told the story and let us take care of ourselves.
    • 46 Metascore
    • 50 Ty Burr
    Dawdles amiably and can't quite decide what it wants to be.
    • 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.
    • 45 Metascore
    • 50 Ty Burr
    Isn't just lame; it's neutered.
    • 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.
    • 64 Metascore
    • 50 Ty Burr
    Thriller fans might remember a terrific 1987 B flick called ''The Stepfather.'' One Hour Photo is that film, directed by an art student.
    • 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.
    • 62 Metascore
    • 50 Ty Burr
    At one point in ''Praise,'' Godard mentions that the Bois de Boulogne, the Parisian park, is all that's left of the French forests from the time of the Roman conquest. In Praise of Love, glowing like an ember, is all that's left of genius.
    • 45 Metascore
    • 50 Ty Burr
    Those who love police overkill, guns, jingoistic race-baiting, guns, macho smugness, and guns will be well served.
    • 44 Metascore
    • 50 Ty Burr
    Gets better -- more rambunctiously astute -- as it goes, and its comic engine sputters into fitful life when Bernie Mac arrives on the scene.
    • 58 Metascore
    • 50 Ty Burr
    The movie is both stunning on the level of visual pageantry and curiously inert as cinema.
    • 58 Metascore
    • 50 Ty Burr
    Does have the enclosed, slightly overheated feel of a family theatrical.
    • 70 Metascore
    • 50 Ty Burr
    This isn't a movie -- it's an author in love with the sound of her own voice.
    • 54 Metascore
    • 50 Ty Burr
    To answer your first question: like a cross between Shrek, the Frankenstein monster, and a Rock 'Em Sock 'Em Robot.
    • 41 Metascore
    • 50 Ty Burr
    The premise of Agent Cody Banks is more than a little bizarre.
    • 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.
    • 53 Metascore
    • 50 Ty Burr
    As a credible love story, though, the film never leaves the runway. If you're a fan of these actors, you may want to look up Jet Lag when it comes out on video, or catch it on an Air France flight while flirting with the passenger in the next seat.
    • 62 Metascore
    • 50 Ty Burr
    Youth recedes, the body decays, life is a compromised thing: These are truths. But they're not fresh truths, and Moss's riverdogs are hardly the first to have discovered them.
    • 56 Metascore
    • 50 Ty Burr
    Doesn't have the gonzo wit of ''Re-Animator'' or ''Evil Dead 2,'' nor is it flat-out terrifying like ''The Texas Chainsaw Massacre'' or even a zombie-come-lately like this year's ''28 Days Later.''
    • 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.
    • 43 Metascore
    • 50 Ty Burr
    Skips lightly along the sewers of human depravity as if the trip alone was worth the telling.
    • 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.
    • 70 Metascore
    • 50 Ty Burr
    The movie ends with a sentimental vision of unity that, admittedly, warmed this weary moviegoer's heart. If that vision was earned, I might even have melted.
    • 45 Metascore
    • 50 Ty Burr
    The question that has to be asked is: Why? The original six-part BBC ''Singing Detective'' remains one of the signal achievements in the history of television -- really -- and its release on DVD this past spring puts it easily within reach of the curious.
    • 57 Metascore
    • 50 Ty Burr
    Benton has laid bare a great author's creaky plotting only to deliver a melodrama with bookish pretensions.
    • 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.
    • 34 Metascore
    • 50 Ty Burr
    It is spectacularly average. Neither an inspired reimagining nor a painful dud,
    • 62 Metascore
    • 50 Ty Burr
    Story lines don't come any clammier.
    • 74 Metascore
    • 50 Ty Burr
    Barrels along on a diverting enough sugar high, but in the hangover that follows you may wonder where the wonder was.
    • 57 Metascore
    • 50 Ty Burr
    The movie looks great and sounds better, and its status as a pioneering work of cinematic eye candy seems secure. For one thing, it's hard to imagine ''Moulin Rouge'' without it. As a movie about recognizable human beings, however, One From the Heart remains a failure.
    • 52 Metascore
    • 50 Ty Burr
    A pleasant puff-pastry throwback to Sandra Dee movies, ''Bye Bye Birdie,'' and other pre-Beatles effluvia.
    • 75 Metascore
    • 50 Ty Burr
    This payback-revenge storyline, told mostly at night with minimal dialogue, is tense but familiar, and Bruno's quick-draw costume changes are fun to watch.
    • 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.
    • 69 Metascore
    • 50 Ty Burr
    Wants to be as shocking as its title, but it doesn't have the nerve.
    • 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.
    • 38 Metascore
    • 50 Ty Burr
    Invites us to both hate King David and admire his style, and there will probably be some hand-wringing about that.
    • 50 Metascore
    • 50 Ty Burr
    Even older kids will understand that Pixar does it so much better, not because of their computers but because of an intelligent attention to script and character and craft. If the people running Disney don't understand that much anymore, maybe they should turn out the lights and go home.
    • 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.
    • 38 Metascore
    • 50 Ty Burr
    Like everything in this humorless new genre, "Chronicles" comes with its own snap-together mythology.
    • 60 Metascore
    • 50 Ty Burr
    An opaque kidnapping drama that features three expertly crafted performances operating on three different planets.
    • 25 Metascore
    • 50 Ty Burr
    Deeply, proudly average..."Mean Girls" it's not; a plastic butter knife has more edge. But sometimes it's nice to know your kids won't cut their fingers.
    • 59 Metascore
    • 50 Ty Burr
    A stylish, watchable, very familiar future-cop action thriller. What was once original is now almost completely derivative.
    • 57 Metascore
    • 50 Ty Burr
    What this dystopia doesn't do is shock. In truth, Code 46 traffics in notions of speculative social fiction that are so familiar by now as to feel disconcertingly normal.
    • 55 Metascore
    • 50 Ty Burr
    Beautiful to look at and acted with full and tempestuous conviction, it still seems to be taking place in an apartment far across the way.
    • 56 Metascore
    • 50 Ty Burr
    What you might call conditional whimsy, predicated on the audience overlooking so many plot implausibilities that it might get tuckered out from all the charity.
    • 29 Metascore
    • 50 Ty Burr
    This is one schlockfest that may be enjoyed more by casual viewers than by hard-core fans, since writer-director Paul W.S. Anderson breaks with the established mythology of both properties whenever he feels like it. Like it matters.
    • 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.
    • 32 Metascore
    • 50 Ty Burr
    The film eventually collapses under the weight of its no-budget arrogance, but it goes some interesting places beforehand.
    • 52 Metascore
    • 50 Ty Burr
    Everything about this curio is claustrophobic.
    • 46 Metascore
    • 50 Ty Burr
    The result is a curious hash: warmly funny in the comic scenes and shamelessly sentimental during the sad bits, of which there are many.
    • 55 Metascore
    • 50 Ty Burr
    Contains more than its share of implausibilities and absurdities.
    • 61 Metascore
    • 50 Ty Burr
    The main, if not only, reason to see The Machinist is for Christian Bale's title performance, and even then you have to be a fan of hardcore martyrdom in the service of craft.
    • 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.
    • 49 Metascore
    • 50 Ty Burr
    In sum, a big, honking tutti-frutti sundae of a movie that nonetheless is shot through with authentic feeling.
    • 69 Metascore
    • 50 Ty Burr
    A sizable amount of national pride is on display in Ong-Bak.
    • 38 Metascore
    • 50 Ty Burr
    One of the prime laws of the multiplex states that any action or horror movie series will devolve into ritualized violence, self-mocking camp, and egregious silliness by part three. Blade: Trinity is right on schedule.
    • 62 Metascore
    • 50 Ty Burr
    The film's meta-fey title alone is an example of why some people adore Anderson and why he drives others absolutely crazy.
    • 53 Metascore
    • 50 Ty Burr
    Weaver's randy, impatient, very funny performance is the main reason to see Imaginary Heroes.
    • 41 Metascore
    • 50 Ty Burr
    What a waste.
    • 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.
    • 60 Metascore
    • 50 Ty Burr
    Involving and sometimes comically bleak but never fully convincing as drama.
    • 44 Metascore
    • 50 Ty Burr
    The acting makes the difference, and in Jacket it rises above the needs of the material.
    • 44 Metascore
    • 50 Ty Burr
    It's a B-flick all the way, but it has no pretensions to the contrary, and that's some kind of refreshing.
    • 44 Metascore
    • 50 Ty Burr
    At its best when Anna confronts her tangled Afrikaaner legacy and when it brings the heretical notion of forgiveness up front, where a non-African audience can come to grips with it.
    • 61 Metascore
    • 50 Ty Burr
    Likably played by Bruhl, the castaway remains more dramatic device than living, breathing character. And without him truly being there, Dench and Smith are just volleying an imaginary ping-pong ball between them. That's not acting -- that's exercise.
    • 63 Metascore
    • 50 Ty Burr
    A mostly lumbering, occasionally rousing epic that walks a bizarre line between historical fact and Hollywood wishful thinking.
    • 45 Metascore
    • 50 Ty Burr
    It would have been nice if someone had included a script, too.
    • 52 Metascore
    • 50 Ty Burr
    Visually dazzling and dramatically trite -- it's virtuoso piffle.
    • 53 Metascore
    • 50 Ty Burr
    The movie is largely set in a busy Paris restaurant, and, not surprisingly, the food looks terrific. You may come out hungry for poached sea bass and a little starved for drama.
    • 47 Metascore
    • 50 Ty Burr
    Blandly noisy and inoffensively average.
    • 43 Metascore
    • 50 Ty Burr
    It's a smart, provocative idea for a movie. I wish 9 Songs was that movie.
    • 80 Metascore
    • 50 Ty Burr
    A textbook case of filmmakers who can't make up their minds about their characters; it's a failure of nerve disguised as dramatic ambiguity.
    • 42 Metascore
    • 50 Ty Burr
    G
    If the movie's not as bad as it sounds, it's not all that great, either.
    • 33 Metascore
    • 50 Ty Burr
    Taking wobbly aim at our country's complicated love affair with guns, the movie's the very definition of a cheap shot.
    • 46 Metascore
    • 50 Ty Burr
    A heartfelt but muddled melodrama.
    • 27 Metascore
    • 50 Ty Burr
    This new Fog floats in on the fumes of the 1980 John Carpenter original, but the surprise is that it's arguably better.
    • 40 Metascore
    • 50 Ty Burr
    A tawdry, predictable hunk of movie headcheese, and I still had a pretty good time with it.
    • 54 Metascore
    • 50 Ty Burr
    Here the foundation has been miscast. That's M-I-S-C-A-S-T.
    • 38 Metascore
    • 50 Ty Burr
    The movie equivalent of a box of generic macaroni and cheese: bland, easily digested, comforting, forgettable.
    • 60 Metascore
    • 50 Ty Burr
    A watchable disappointment. Sumptuous to look at, tastefully dull, and ultimately rather silly.
    • 53 Metascore
    • 50 Ty Burr
    Has a daft sweep, and if you're in the mood for empty swordplay in baroque settings, purple dialogue delivered with straight faces, and romantic yearnings that never, ever resolve, The Promise may be your cup of oolong.
    • 34 Metascore
    • 50 Ty Burr
    Completely unnecessary but painless, like dentistry performed by mimes.
    • 53 Metascore
    • 50 Ty Burr
    A Good Woman is pretty to look at and fakes witty elegance passably, so consider it a diversion -- a movie that might have been in the Oscar race if the elements had jelled but has instead been properly hung out to dry in February.
    • 62 Metascore
    • 50 Ty Burr
    Genuine, artful simplicity may be an impossible quality in a modern children's movie, so Curious George opts instead for mayhem under a blanket of sweetness. The little ones understand.
    • 45 Metascore
    • 50 Ty Burr
    A movie like this needs a suave, amoral villain, so here's Paul Bettany.
    • 38 Metascore
    • 50 Ty Burr
    Suffice to say that Shawn Levy, director of the "Cheaper by the Dozen" movies, is no Blake Edwards; for every finely tuned slapstick fillip, there's a ton of messy, family-friendly buffoonery.
    • 58 Metascore
    • 50 Ty Burr
    Ice Age: The Meltdown is pure sequel product that should make children and undemanding grown-ups happy even as it lacks anything resembling storytelling inspiration.
    • 46 Metascore
    • 50 Ty Burr
    An acceptable but uninspired simulacrum: an overly faithful multiplex translation of a very, very popular airport novel.
    • 50 Metascore
    • 50 Ty Burr
    Maybe it's the era we're living in, but the new film is as much fun as a shroud.
    • 52 Metascore
    • 50 Ty Burr
    Very broad and very silly, it's a doodle of a comedy -- a one-joke idea (fat guy goes luchador) padded out to feature length by Black's willingness to do anything for a laugh.
    • 53 Metascore
    • 50 Ty Burr
    The film is very near a comedy, and I'm not sure that's on purpose.
    • 67 Metascore
    • 50 Ty Burr
    Time to Leave is an unintended litmus test for lovers of foreign films.
    • 68 Metascore
    • 50 Ty Burr
    Monster House is the first horror comedy made exclusively for fourth-graders.
    • 48 Metascore
    • 50 Ty Burr
    Scoop is distinctly minor Allen, with less weight to it than one of his old humor doodles in The New Yorker.
    • 56 Metascore
    • 50 Ty Burr
    The movie has a pleasing skinned-knee innocence that makes you wish everything else about it wasn't so shoddy.
    • 57 Metascore
    • 50 Ty Burr
    It very much wants to be "Garden State" five years down the line.
    • 57 Metascore
    • 50 Ty Burr
    A good-natured but terminally mild British mockumentary.
    • 37 Metascore
    • 50 Ty Burr
    I'm not the first observer, or even the second, to liken the star's (Penn) portrayal of fictional Louisiana governor Willie Stark to the late John Belushi's impersonation of Joe Cocker.
    • 39 Metascore
    • 50 Ty Burr
    One walks out of Man of the Year aching for the squandered opportunities.
    • 49 Metascore
    • 50 Ty Burr
    Turns out to be rather less than the sum of its headlines.
    • 44 Metascore
    • 50 Ty Burr
    Unknown is punchy and entertaining. Maybe not the sort of thing you'd want to spend $10 plus a mortgage for popcorn on, but a nifty surprise on DVD several months from now -- or on pay-cable on-demand right now.
    • 56 Metascore
    • 50 Ty Burr
    The film squeezes out its feel-good messages like toothpaste from a tube.
    • 57 Metascore
    • 50 Ty Burr
    If you're young, the film may intoxicate you. If you're older, it may make you relieved you're no longer young.
    • 63 Metascore
    • 50 Ty Burr
    This is no corporate project made to squeeze a few more dollars from a fading cash cow. No one else has been asking for another "Rocky," other than maybe Burt Young . No, this is a rarer beast -- an auteur sequel -- and it's so wrapped up in its maker's personal mythology and psychic needs that it becomes a hall of mirrors to which we're given a slack-jawed ringside seat.
    • 57 Metascore
    • 50 Ty Burr
    The immediate problem with making a movie based on Potter's life is that it doesn't seem to have been very interesting.
    • 43 Metascore
    • 50 Ty Burr
    There's a funkier and more interesting movie in Maureen, a character played by Juliette Lewis. Maureen is a single mom, a massage therapist, and a dimwit California follower of every new-age theory out there. She's a nasal, needy wreck, and Catch and Release is torn between adoring her and making ruthless fun of her.
    • 64 Metascore
    • 50 Ty Burr
    Aside from pretty people behaving cutely, there's just not much here, and even devoted Francophiles may nod into their cafe crèmes.
    • 65 Metascore
    • 50 Ty Burr
    It's a doughty movie, stuck halfway between Masterpiece Theatre and Classics Illustrated, but, to his credit, gifted journeyman director Michael Apted understands he's playing the long game.
    • 27 Metascore
    • 50 Ty Burr
    The movie is this year's "RV," a rolling tent show of suburban male anxieties: castration, obsolescence, dismissive offspring, fears of gayness. LOTS of fears of gayness. Unlike "RV," though, Wild Hogs is funny. Eventually.
    • 54 Metascore
    • 50 Ty Burr
    Leave it to the French to take the joy back out of sex. The high-minded erotic drama Exterminating Angels has heat but little light; it speaks of pleasure while treating it as a dirty word. The cast huffs and puffs but the exercise, sadly, remains academic.
    • 73 Metascore
    • 50 Ty Burr
    The movie trades the paranoia of modern omni-cam culture for a tighter, more personal drama, and while it sticks with you, you feel the missed opportunity like a phantom leg.
    • 57 Metascore
    • 50 Ty Burr
    It's a charming disappointment that retains the elements that make the writer's novels so good without ever bending them into cinematic shape.
    • 39 Metascore
    • 50 Ty Burr
    There's an interesting movie in here, too, about the isolation of Indian brides brought to a new country by strange new husbands and mistreated, but Provoked rarely ducks below its glossy surface to go there.
    • 53 Metascore
    • 50 Ty Burr
    The movie's fodder for tweener girls with indiscriminate Nick TV addictions, but there's just enough wit on display to make you realize it could have been worse.
    • 16 Metascore
    • 50 Ty Burr
    An intensely unpleasant killer-thriller mystery.
    • 46 Metascore
    • 50 Ty Burr
    Ideally, it would give you a sense of an entire people knocking the planet off its axis with a shake of their hips. If only El Cantante were that movie. Instead, it's a curiously sludgy cross between a Doomed Star biopic and a J. Lo vanity project.
    • 25 Metascore
    • 50 Ty Burr
    The movie isn't THAT bad -- it's just made-for-TV historical treacle that has somehow found its way to the big screen (and barely that; if you want to be moved or outraged by the film, you'll have to travel to Danvers or Revere).
    • 45 Metascore
    • 50 Ty Burr
    Buried somewhere within the bipolar extravaganza that is The Invasion is an awfully good movie that got away.
    • 54 Metascore
    • 50 Ty Burr
    Genocide is hard to decorate with the trimmings of dark farce. The Hunting Party wants to get at political truths through audaciousness, but it keeps bumping into that problem of taste, only to back down.
    • 61 Metascore
    • 50 Ty Burr
    Lust, Caution is a disappointment coming from director Ang Lee, but it's a watchable one, and it rattles around in your head for a long time after you've seen it, as much for what it does right as for where it goes wrong.
    • 36 Metascore
    • 50 Ty Burr
    Old story, new beat: That sums up Feel the Noise, an acceptable if resolutely average low-budget drama set in the New York/Puerto Rican musical melting pot known as reggaeton.
    • 65 Metascore
    • 50 Ty Burr
    There's a great movie to be had in the notion of a busybody whose advice keeps blowing up in his face, but Dan in Real Life merely sets it up and walks away.
    • 43 Metascore
    • 50 Ty Burr
    The movie is decent and heartfelt, and it eventually settles into some sharp diamond action, but the small-town homilies are dropped like an anvil. If you thought 1993's "Rudy" was too spare and unsentimental, Final Season is for you.
    • 49 Metascore
    • 50 Ty Burr
    The new version is a shiny piece of hardware that might as well be called "Sleuth 2.0," and it's exactly what you would expect from Pinter: very clever, extremely cold. Maliciously entertaining, too, until the halfway point, when you suddenly start wondering why anyone should care.
    • 58 Metascore
    • 50 Ty Burr
    The Mist doesn't provoke further thought; it provokes active annoyance at being punished in the service of a pulp morality tale with pretensions.
    • 43 Metascore
    • 50 Ty Burr
    At its best, the movie's crazy in unexpected and poetic ways; at its worst, merely preposterous.
    • 48 Metascore
    • 50 Ty Burr
    Often as noisy, dippy, and enjoyable as 2004's "National Treasure," and when it's not, it's just another sequel, more absurd than most.
    • 74 Metascore
    • 50 Ty Burr
    The film's a minuet fetishistically repeated until either the audience or the lovers go crazy. I'd say it was a tie.
    • 76 Metascore
    • 50 Ty Burr
    The film's case against overdevelopment needs to be, and could be, aggressive, airtight. It should play to the unconverted. Instead, The Unforeseen gives us . . . poetry.
    • 61 Metascore
    • 50 Ty Burr
    Heavy metal, alt-pop, southern rock, orchestral swells, wailing Middle Eastern tunes all vie for our attention, but none of this noise drowns out the sound of good intentions twisting themselves into an impotent knot.
    • 33 Metascore
    • 50 Ty Burr
    How can you tell the target age for Superhero Movie is exactly 13 1/2 years? Because most of the jokes are Internet-related.
    • 49 Metascore
    • 50 Ty Burr
    The final act of Dark Matter is grim but unconvincing, and the shortfall leaves an ugly, exploitive taste in your mouth.
    • 55 Metascore
    • 50 Ty Burr
    Bra Boys uses reenactments to make the case that Jai acted in self-defense, but the tactic comes off cheap and unconvincing. Worse, the director never bothers to talk to anyone outside the tight coterie of insiders. Why should he when his brothers' freedom is at stake?
    • 37 Metascore
    • 50 Ty Burr
    The movie demands you be a glutton for sensation and then has the nerve to ask why you're not hungrier.
    • 63 Metascore
    • 50 Ty Burr
    The film itself suggests a sketch video on Ferrell and McKay's "Funny or Die" website, padded out to the dimensions of a character comedy.
    • 56 Metascore
    • 50 Ty Burr
    The movie looks great at least, and the cast includes such stalwarts of Italian cinema as Claudia Gerini and Pierfrancesco Favino.
    • 52 Metascore
    • 50 Ty Burr
    Elsa & Fred does graze against an interesting idea: that the vitality of our youths lives on in the prison of aging bodies.
    • 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.
    • 49 Metascore
    • 50 Ty Burr
    The latest installment in the venerable sci-fi action franchise turns out to be a straight-up war film, grim and muscular and thundering and joyless. It's the color of cement, and it weighs as much, too.
    • 63 Metascore
    • 50 Ty Burr
    Shallow and proud of it, an antic cartoon that lacks the comic inspiration to go the distance.
    • 58 Metascore
    • 50 Ty Burr
    Depressingly predictable in its dialogue and dramatic beats, Defiance is most interesting as a study of unlikely leaders.
    • 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.
    • 56 Metascore
    • 50 Ty Burr
    Most useful and enlightening as a historical tour through the major crises of the Kennedy administration.
    • 54 Metascore
    • 50 Ty Burr
    The chief culprits are Townsend's TV-movie characterizations and a very muddled message.
    • 47 Metascore
    • 50 Ty Burr
    Disappointing not for what it is but what it could have been.
    • 57 Metascore
    • 50 Ty Burr
    For all its unforgivable blandness, "High School Musical" opens young audiences to the charms of this most transporting of movie genres.
    • 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.
    • 57 Metascore
    • 50 Ty Burr
    The problem with Flash of Genius isn't that the subject is dull but that the movie is.
    • 40 Metascore
    • 50 Ty Burr
    Something has been lost in the translation, and it's not just the script.
    • 51 Metascore
    • 50 Ty Burr
    Hotel for Dogs is agreeable Saturday afternoon multiplex piffle - friendly, formulaic, completely harmless.
    • 29 Metascore
    • 50 Ty Burr
    You've seen New in Town before, and you've seen it done better. Still, it's a sweet-hearted bit of anemia, pleasant and obvious, and there are a few honest laughs to it.
    • 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.
    • 55 Metascore
    • 50 Ty Burr
    Breezily enjoyable for about 10 minutes, until you realize the entire movie is going to be pitched at the same exuberantly manic pace. It's like being trapped in an elevator with a performing poodle that doesn't know when to quit.
    • 72 Metascore
    • 50 Ty Burr
    12
    The new film's not only almost double the length of the original, it's four times as ambitious - a sprawling, surrealist, ultimately disturbing portrait of a society lurching uncertainly toward democracy. What's really on trial in this movie? Just the Russian soul.
    • 38 Metascore
    • 50 Ty Burr
    Gigantic plays like a Sundance movie with half the nouns removed; fetchingly cryptic for a while, it's ultimately just obscure.
    • 48 Metascore
    • 50 Ty Burr
    The movie itself is petrified meatloaf. It's a body-transference comedy in the vein of "Big," "Freaky Friday," and other candidates for Turner Classics.
    • 54 Metascore
    • 50 Ty Burr
    Writer Peter Harness has based his screenplay on his own childhood experiences, but personal doesn't necessarily translate to fresh.
    • 34 Metascore
    • 50 Ty Burr
    Ghosts is better-than-average McConaughey swill, but not by much - that's its pleasure and its curse.
    • 55 Metascore
    • 50 Ty Burr
    An overly muted and cautious piece of work. Watching it is like seeing a man ease out onto the limb of a tree, constantly testing its strength.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Ty Burr
    What’s best about Funny People, actually, is Sandler, who takes the weird, resentful anger that has always coursed beneath his comedy and puts it right on the surface.
    • 70 Metascore
    • 50 Ty Burr
    The parts, in other words, promise a brilliant whole. So why is this movie one of the signal disappointments of the year? You have to go back to the basics: Public Enemies has everything going for it except a reason and a script.
    • 58 Metascore
    • 50 Ty Burr
    iIf you can ignore a ridiculously overbearing soundtrack - a big if - the film's a pleasant bauble. Still, those coming in cold may be forgiven for thinking they've wandered into "Atonement" remade as a farce.
    • 45 Metascore
    • 50 Ty Burr
    Whatever Works is very minor Woody, querulous, fitfully funny, and removed from any shared reality.
    • 33 Metascore
    • 50 Ty Burr
    One of those sticky dramas.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Ty Burr
    With The Invention of Lying, the British comic actor Ricky Gervais has come up with a wickedly funny idea for a movie - and then purged the wickedness right out of it.
    • 53 Metascore
    • 50 Ty Burr
    Where Burton and his screenwriter, Linda Woolverton, go astray is turning this new 3-D version - a sequel, really, about a grown Alice returning to the psychic dreamworld of her childhood - into a fantasy adventure that looks like every other CGI epic out there.
    • 53 Metascore
    • 50 Ty Burr
    The Book of Eli is “The Road’’ with twice the plot, four times the ammunition, and half the brains; it’ll probably make 10 times the money.
    • 43 Metascore
    • 50 Ty Burr
    Reilly gives it his all, and he’s both very enjoyable and about as scary as a stubbed toe.
    • 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.
    • 24 Metascore
    • 50 Ty Burr
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