For 2,397 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 2.7 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Star Wars: Episode VIII - The Last Jedi
Lowest review score: 0 Jason Goes to Hell: The Final Friday
Score distribution:
2397 movie reviews
    • 84 Metascore
    • 88 Ty Burr
    First Man plays a different and arguably more rewarding game, one that looks for the man behind the hero. It’s a movie that shows how the most personal moments can coexist within and alongside the most momentous events. It’s a film that insists history is made from private lives.
    • 82 Metascore
    • 75 Ty Burr
    Mostly, though, the movie succeeds because of the actress at its center.
    • 35 Metascore
    • 38 Ty Burr
    Venom, the movie, is a reptilian Marvel mishmash whose touch saps the life force of almost everyone in it.
    • 78 Metascore
    • 88 Ty Burr
    On the basis of The Sisters Brothers, we’d all be better off handing our westerns to Frenchmen. Especially if the results do right by John C. Reilly. That fine, ursine character actor — our generation’s Wallace Beery, as I live and breathe — is one of the four corners of the movie’s acting pleasures, the other three being Joaquin Phoenix, Jake Gyllenhaal, and Riz Ahmed (HBO’s “The Night Of”).
    • 83 Metascore
    • 75 Ty Burr
    A modern comedy-drama in the Woody Allen-Noah Baumbach mold — urban intellectuals talking their lives in circles — but what keeps it from being a live-action New Yorker cartoon is the heart beating away in the script and the performances. At over two hours, it’s long but it’s true.
    • 88 Metascore
    • 88 Ty Burr
    The latest update, directed by Cooper and built on the sturdy bones of William Wellman’s and Robert Carson’s 1937 script, has heart, soul, and sinew. Above all, it has Lady Gaga, both before and after her character’s transformation from an outer-borough duckling into a superstar swan.
    • 82 Metascore
    • 88 Ty Burr
    Most refreshingly, Science Fair illustrates the many different kinds of STEM students out there.
    • 43 Metascore
    • 50 Ty Burr
    Broad as the side of a city bus and about as lumbering, Night School is a better-than-average Kevin Hart comedy — meaning that it’s an average comedy overall. It’s silly and rather sweet, and it’s blessed with an ensemble that makes the most of the dopey cartoon script patched together by Hart and five other writers.
    • 72 Metascore
    • 75 Ty Burr
    Hal
    Hal is a soft-edged memorial that should direct you, or re-direct you, to some terrific and tough-edged films.
    • 76 Metascore
    • 75 Ty Burr
    The movie is Hawke’s fourth and best feature as a director; it’s immensely touching, and only deceptively shapeless.
    • 60 Metascore
    • 63 Ty Burr
    The resulting movie is atmospheric and compelling, and it makes an empathetic case for Borden as an intelligent, passionate woman so stifled by her father and the suffocating society he represented that she lashed out (and then some).
    • 74 Metascore
    • 50 Ty Burr
    With all that good will and with an abundance of source material, why does the documentary Love, Gilda feel like such a disappointment? It’s fine for casual viewers: you’ll come away reasonably satisfied if you want to catch up on the basics of Radner’s life and career while having your nostalgia gently stroked.
    • 76 Metascore
    • 100 Ty Burr
    In a way I’ve never before seen done onscreen, Madeline’s Madeline fuses triumph and tragedy until the two feel strong and indistinguishable.
    • 67 Metascore
    • 63 Ty Burr
    “Pick” often feels like a project that has been overly groomed. Will you still be moved to tears? Most likely.
    • 29 Metascore
    • 25 Ty Burr
    Garner bulls her way through the film with determination and a minimum of facial expressions, like someone who’s been told to clean up something awful and just wants to get it over with. So what if Charlize Theron did it better in “Atomic Blonde,” last year’s female-led brawler that is in every conceivable way superior to Peppermint?
    • 77 Metascore
    • 63 Ty Burr
    What unites the film’s two halves — what makes it worth watching, period — is the road Close’s Joan travels as she decides whether to reclaim authorship of her own life. It’s a diamond forged under pressure — a performance of great fury that only finds its voice at the end.
    • 67 Metascore
    • 75 Ty Burr
    The cast — Rose Byrne, Ethan Hawke, comic sad sack Chris O’Dowd (“Bridesmaids,” “The Sapphires”) — is in a higher weight class than the material and, rather than be dragged down into formula, they raise the movie up to the nearly scintillating.
    • 69 Metascore
    • 75 Ty Burr
    In its tactful, observant way, the film is unrelenting in assessing the damage that blind faith can wreak on its children and heartening in showing how those damaged find strength in each other.
    • 75 Metascore
    • 75 Ty Burr
    It’s Dyrholm’s film, though, and Nicchiarelli’s, and between them the two women do honor to their subject in all her contradictions.
    • 83 Metascore
    • 88 Ty Burr
    A ferocious mix of prankishness and cold fury that is one of the director’s strongest yet most entertaining works in years.
    • 70 Metascore
    • 75 Ty Burr
    Brisk and deeply engrossing.
    • 52 Metascore
    • 50 Ty Burr
    It’s essentially “Romy and Michelle’s Mission Impossible” or “Lucy and Ethel Live and Let Die,” and it’s an easy, awfully disposable two hours that scatters some off-kilter belly laughs among a lot of labored gags and efficiently-shot action movie setpieces.
    • 76 Metascore
    • 75 Ty Burr
    The best parts are the breezes of real, observed life that breathe through many of the scenes — the street corners, the storefronts, the rough camaraderie of guys hanging out, the wary warmth of women.
    • 86 Metascore
    • 75 Ty Burr
    Not just one of the best but, at its best, an exercise in pure action-movie propulsion and an essay in how to get from Point A to Point B in the most ingenious and exhausting way imaginable.
    • 78 Metascore
    • 75 Ty Burr
    The Green Fog is a cinephile’s mash note — and a glimpse of the beautiful film library of Babel that lives in Guy Maddin’s head.
    • 89 Metascore
    • 88 Ty Burr
    At times, Eighth Grade plays like a nature documentary about life and death on the savannas of suburbia.
    • 60 Metascore
    • 75 Ty Burr
    I wish I could tell you that Mamma Mia! Here We Go Again is ridiculous and I hated it, but the fact is that it’s ridiculous and I loved every minute.
    • 51 Metascore
    • 50 Ty Burr
    You’ve seen almost all of this before, with more wit and a better villain.
    • 81 Metascore
    • 100 Ty Burr
    There are a lot of reasons to be thankful for Sorry to Bother You — one being that it represents the return of the inspired/demented midnight-movie satire — but the rise of Lakeith Stanfield to leading man status is probably the most satisfying.
    • 89 Metascore
    • 100 Ty Burr
    The final shots are both majestic and damning, and they lift the film with a kind of gentle contempt into a surrealism that makes an awful kind of sense, the world in its lushness swallowing Zama as it will swallow us all. Some movies unfold as dreams; Zama dances us playfully toward the edge of nightmare and then asks us to open our eyes.

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