For 2,610 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Phantom Thread
Lowest review score: 0 All About Steve
Score distribution:
2610 movie reviews
    • 67 Metascore
    • 50 Ty Burr
    The gap between storytelling and story is rarely as wide as in The Last Tree, a coming-of-age drama that is rapturously shot and dramatically trite.
    • 66 Metascore
    • 50 Ty Burr
    Largely plotless, confidently self-indulgent, and more leering toward those acting students than seems wise, Tommaso is worth a look for the Rome locations and the burnished widescreen cinematography of Peter Zeitlinger. Above all it’s a showcase for Dafoe, who continues a remarkable late-career run.
    • 55 Metascore
    • 50 Ty Burr
    There’s nothing in Military Wives you haven’t seen before, but these are times of comfort food, and this formulaic comedy-drama about a group of British army-base spouses who start a choir is so determined to be uplifting that your up may be lifted in spite of itself.
    • 53 Metascore
    • 50 Ty Burr
    Watching Shea Whigham and Michael Shannon in The Quarry is like watching two highly qualified surgeons try to jolt a comatose patient back to life. They get the limbs twitching nicely, but the heart never turns over and starts running.
    • 65 Metascore
    • 50 Ty Burr
    It’s tempting to see Tigertail in the tradition of the Ingmar Bergman classic “Wild Strawberries,” with its emotionally constipated hero looking back over a lifetime of mistakes and missed connections. But the comparison only highlights Yang’s weaknesses as a first-time feature director: flat dialogue that mistakes subtext for text, glacially paced scenes that lack dramatic momentum, stolidly unimaginative camerawork, and a central character so unsympathetic that you end up siding with his ex-wife and daughter.
    • 65 Metascore
    • 50 Ty Burr
    The film’s greatest strength is its lead actress, Haley Bennett, who’s on camera for almost the entire running time and who portrays a desperately lonely woman’s journey through self-destruction toward something like sanity.
    • 49 Metascore
    • 50 Ty Burr
    The movie gets credit for showing the struggles he and millions of others with similar disorders live with on a daily basis. They’re not pretty, but — aside from Emma — they’re real.
    • 68 Metascore
    • 50 Ty Burr
    The Way Back is the first real Sad Ben film. It’s earnest and old-fashioned and sturdily made, and I wish that were enough to make it good.
    • 61 Metascore
    • 50 Ty Burr
    The movie is almost wholly lacking in the Pixar touch — that extra oomph of wit, invention, creative craziness, darkness, depth of feeling, whatever, that makes the company’s products among the very few items manufactured for children in our sold-out popular culture to not feel like products.
    • 48 Metascore
    • 50 Ty Burr
    An acceptable creature feature at best and a waterlogged “Alien” at worst, Underwater sneaks into town as a true January release: a shelf-sitting production that 20th Century Fox’s new owner, Disney, is putting outside the store like a loaf of stale bread. It’s there if you want it, and you could chew on worse.
    • 53 Metascore
    • 50 Ty Burr
    Arriving with a blockbuster sound and fury that has been dialed up to 11, the movie is a dismayingly safe act of franchise closure. In terms of pure narrative, it’s satisfying. What it very rarely is is inspired.
    • 56 Metascore
    • 50 Ty Burr
    Ira Sachs’s muted family drama has locations to make a moviegoer swoon, rich music and cinematography, acting that’s attentive and wise. All that’s missing is a story.
    • 38 Metascore
    • 50 Ty Burr
    It’s a not-unwatchable retread that has been tricked up to pass as a whole new thing. The problem with high-frame-rate productions is that they don’t look like what we’re used to calling “movies.” The problem with this one is that there wasn’t much movie there to begin with.
    • 59 Metascore
    • 50 Ty Burr
    If the Marvel/Disney comic-book movies tend toward the chromium brio of the “Avengers” series, the DC superhero movies purveyed by Warner Bros. have taken their cue over the years from the 1986 revisionist graphic novel “The Dark Knight Returns,” and they are very dark indeed. Joker is the culmination of that approach, a slab of self-important pop-culture masonry whose only bright spot is the figure dancing brilliantly along its top.
    • 40 Metascore
    • 50 Ty Burr
    The Goldfinch isn’t great literature but it is a good read. By breaking up the chronology and yanking the audience back and forth between Theo’s fraught youth and crisis-ridden present, though, the film prevents an audience from gaining emotional traction.
    • 51 Metascore
    • 50 Ty Burr
    Mishandles Maria Semple’s best-selling comic novel into a clattery mess. There are deftly human moments to be found, but you have to dig for them like potatoes.
    • 43 Metascore
    • 50 Ty Burr
    It’s a PG movie with pleasantly canned life lessons, and it’s safe for kids and adults alike, although anyone with a shred of cynicism may not want to be seen caving in to the script’s emotional inevitabilities.
    • 65 Metascore
    • 50 Ty Burr
    Casey is possibly on the spectrum, but one of the problems with The Art of Self-Defense is that all the other characters seem to be, too.
    • 60 Metascore
    • 50 Ty Burr
    What sinks the movie (rather than the character) are the tortured melodramatics of its backstage plot and dialogue that aims for clever — and sometimes is — but that generally approximates Shakespeare for, like, beginners.
    • 55 Metascore
    • 50 Ty Burr
    It’s content to keep things light and predictable, with the result that one of the richest song catalogs known to man is here to prop up an increasingly formulaic and far-fetched love story. Yesterday makes less sense the longer it lasts, albeit with some good bits along the way.
    • 57 Metascore
    • 50 Ty Burr
    The movie is congenial, self-effacing, and reasonably dull, and since it promises an inside look at 30 years of being a Rolling Stone, that has to be considered a disappointment. On the other hand, Oliver Murray’s film about the life and times of Bill Wyman offers proof that even average blokes can be rock stars, and maybe more of them than we think.
    • 59 Metascore
    • 50 Ty Burr
    All is True is expertly acted and handsomely filmed but suffers from an excess of sentimentality, a rash of revelations, and a surfeit of subtext, with characters blurting out the hidden motives for their behavior instead of simply behaving them. I imagine Shakespeare himself might be simultaneously tickled and appalled.
    • 65 Metascore
    • 50 Ty Burr
    Another tale of timid souls united by a sweet movie gimmick.
    • 57 Metascore
    • 50 Ty Burr
    Very like a gummy bear, Teen Spirit gives you a nice little sugar rush until the lights come up and you realize you’re still hungry. Part of the problem is the script, which includes lines of dialogue so generic it’s as if Minghella is daring himself to squeeze a drop more juice out of them.
    • 51 Metascore
    • 50 Ty Burr
    Dumbo flies! The movie, sadly, never soars.
    • 67 Metascore
    • 50 Ty Burr
    Climax is the first Noé film, though, to flirt with the novel sensation of boredom.
    • 68 Metascore
    • 50 Ty Burr
    Above all, it’s a meditation on art and creativity that’s by turns earnest, troubled, sentimental, and middlebrow. It’s a big, glossy affair that somehow feels rather small.
    • 43 Metascore
    • 50 Ty Burr
    Glass isn’t a terrible film but neither is it a particularly good one, and it certainly doesn’t stick the landing the way the filmmaker and his hardy fans have probably hoped. It’s by turns intriguing, awkward, inspired, misguided, and very, very talky.
    • 66 Metascore
    • 50 Ty Burr
    Mary Poppins Returns is torn between taking audiences back to their childhoods and treating them like children. You might have a good time but don’t be surprised if you feel a little dociousaliexpeisticfragicalirupus afterward.
    • 60 Metascore
    • 50 Ty Burr
    The movie is less a movie than a collection of scenes lined up in a row, and the tone wobbles between pomp and circumstantial melodrama.

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