For 2,428 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 2.6 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Listen to Me Marlon
Lowest review score: 0 All About Steve
Score distribution:
2428 movie reviews
    • 91 Metascore
    • 100 Ty Burr
    Cold War is a ravishment, a cinematic feast for the senses, and it packs an epic inner landscape into a dense 88 minutes.
    • 41 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.
    • 87 Metascore
    • 75 Ty Burr
    Museo is slightly frustrating on first watch, as its themes lie partly hidden behind Bernal’s intentionally abrasive performance and the mix-and-match filmmaking of Ruizpalacios: Bursts of faux-epic movie music in Tomas Barreiro’s score, camerawork that can be ironically portentous, scenes that flit along the edge of the surreal. The connective tissue is sometimes hard to discern.
    • 75 Metascore
    • 75 Ty Burr
    Is it horror? Drama? Love story? Allegory? Maybe best to think of it as a chilly Scandinavian bedtime tale, the type to unsettle bothersome children and leave them identifying with the ogre.
    • 87 Metascore
    • 100 Ty Burr
    Baldwin knew that hope is the engine that takes us to the future, to a changed and better day, and whether that hope is embodied in action, in expression, or in a child is immaterial. If Beale Street Could Talk is a stained-glass window looking out onto what could still be.
    • 61 Metascore
    • 38 Ty Burr
    This is a story that needs to be told, but McKay turns out to be precisely the wrong man to tell it. By comparison, Oliver Stone is a model of sober restraint.
    • 60 Metascore
    • 63 Ty Burr
    Watchable, illuminating, and ultimately unmemorable — inspiring without being inspired.
    • 40 Metascore
    • 25 Ty Burr
    The tone is almost willfully off-putting. The parts that are supposed to be cute could give you the creeps. The film is almost a Platonic ideal of how to take an emotionally transfixing real-life story and get it wrong.
    • 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.
    • 58 Metascore
    • 63 Ty Burr
    Rather than a suspenseful action exercise with volleys of gunfire, The Mule is more of a quixotic character picaresque, a distant relative of the recent Robert Redford farewell, “The Old Man & the Gun,” without being nearly as well written.
    • 68 Metascore
    • 75 Ty Burr
    Any movie on this subject that’s not uncomfortable isn’t really doing its job, and Ben Is Back puts an audience through a wringer of emotional and physical suspense. If you’ve dealt with addiction, personally or in your extended family, the movie should probably come with a trigger warning.
    • 87 Metascore
    • 100 Ty Burr
    One of the wittiest and most creatively exuberant movies of the year, and maybe one of the best.
    • 61 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.
    • 71 Metascore
    • 63 Ty Burr
    A brisk and reasonably thorough dog trot through a life that was simultaneously invisible and all powerful, and it’s goosed along with slick production techniques that more than once get in the way.
    • 96 Metascore
    • 100 Ty Burr
    Like all the best films, Roma is achingly specific while constantly opening up to the universal.
    • 93 Metascore
    • 100 Ty Burr
    It’s in theory the worst family movie of 2018 — and in practice one of the year’s best films.
    • 90 Metascore
    • 88 Ty Burr
    The movie itself is great fun before it curdles intentionally into nastiness and drift.
    • 76 Metascore
    • 88 Ty Burr
    By far the best part of Say Her Name: The Life and Death of Sandra Bland is that we get to see her face and hear her words.
    • 79 Metascore
    • 63 Ty Burr
    The movie’s dramatically uneven, as anthology movies tend to be, but is it worth watching on the big screen? If the idea of Monument Valley peopled with classic Coen misfits hits your sweet spot, by all means go.
    • 70 Metascore
    • 63 Ty Burr
    It’s the kind of movie that hammers on your heart even as it’s tripping over its feet, hobbled by unexamined notions of race, ethnicity, and class. Don’t look too closely, and you’ll have a very good time.
    • 90 Metascore
    • 100 Ty Burr
    Burning, from South Korea’s Lee Chang-dong, is a beautifully cryptic slow burner that lingers long in the senses. It’s the kind of film where you obsess over what it means, the better to avoid thinking about how it makes you feel.
    • 76 Metascore
    • 75 Ty Burr
    A reporter is never the story — the story is the story. But if looking at the reporter helps you see the story, and the human beings the story is about, then the effort may be worth it. A Private War is worth it.
    • 43 Metascore
    • 38 Ty Burr
    And that’s what The Girl in the Spider’s Web is: soulless, bloodless product. Subtitled “A Dragon Tattoo Story,” it exists almost solely to drive a stake in the ground for the further franchising of author Stieg Larsson’s “The Girl with the Dragon Tattoo.”
    • 71 Metascore
    • 63 Ty Burr
    Boy Erased is strongest when it simply focuses on Jared as he copes with the trauma of coming out in a repressed society. This includes, in the film’s most shocking scene, a sequence of collegiate gay rape that leaves the boy with PTSD, which goes unnoticed and untreated by parents, authorities, and, to some extent, the film itself.
    • 71 Metascore
    • 75 Ty Burr
    The stone-faced silent comedian’s influence on every possible aspect of physical comedy is wide and deep, attested to in this movie by entertainers old (Bill Irwin, Paul Dooley, Richard Lewis), ancient (Mel Brooks, Carl Reiner), youngish (Bill Hader, Quentin Tarantino), and random (Cybill Shepherd, Werner Herzog).
    • 49 Metascore
    • 50 Ty Burr
    All in all, the movie’s a muddled and overlong experience, one that every so often drifts into dull, unintentional camp.
    • 64 Metascore
    • 63 Ty Burr
    When art-minded film directors stoop to genre-minded filmmaking, it’s generally a good idea to duck. Despite sequences that may lodge in your memory forever, Luca Guadagnino’s Suspiria is no exception to this rule.
    • 87 Metascore
    • 88 Ty Burr
    In addition to its other strengths — serving as a reminder of the kind of small, satisfying movie they don’t make anymore, showcasing the depths of Melissa McCarthy’s talents — Can You Ever Forgive Me? celebrates a hardy but endangered species: the Nasty New Yorker. It’s been a while since I’ve enjoyed spending so much time with someone so unpleasant.
    • 69 Metascore
    • 50 Ty Burr
    Can a vastly talented cast raise a heartfelt but banal screenplay on their own? The verdict is mixed, to put it kindly.
    • 63 Metascore
    • 63 Ty Burr
    It’s an earnest and compassionate treatment of a story that is, by necessity, grueling as hell. It’s graced with sincere performances by Steve Carell (as David) and Timothée Chalamet (as Nic) that strive to steer clear of Actorly Moments. And there are mysteries here — of parenting, of human experience — that director Felix Van Groeningen looks at sharply before looking away.

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