For 2,362 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 2.9 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Handmaiden
Lowest review score: 0 The Nutcracker
Score distribution:
2362 movie reviews
    • 51 Metascore
    • 50 Ty Burr
    How do you make a boring movie about this guy? Beats me, but director Ben Lewin has managed to pull it off. Based on Nicholas Dawidoff’s 1994 biography of the same title, The Catcher Was a Spy is a decorous, dutiful dogtrot that tells Berg’s story with excellent production values and a conspicuous lack of energy. In its tastefully dull fashion it wastes not only a fascinating subject but the mercurial actor playing him.
    • 52 Metascore
    • 63 Ty Burr
    You can go see Jurassic World: Fallen Kingdom or you can save yourself the time and money by chugging a six-pack of Red Bull and running through the dinosaur exhibits at the Harvard Museum of Natural History until you can’t breathe. As experiences go, they’re equally adrenalizing and equally ephemeral.
    • 80 Metascore
    • 75 Ty Burr
    It’s unnerving in ways that elude easy explanation and that slip under your skin and stay there.
    • 67 Metascore
    • 63 Ty Burr
    Hearts Beat Loud is gentle, funny, humane, and predictable, kept from becoming tiresome by a cast of pros that includes not only Offerman but Toni Collette as Frank’s landlady and possible love interest and a frisky Ted Danson as a philosophic stoner who owns the neighborhood watering hole.
    • 68 Metascore
    • 75 Ty Burr
    Nancy is an eccentric, pungent gift of a film about a woman without identity played by an actress without persona.
    • 80 Metascore
    • 50 Ty Burr
    The result is a clattery, unfocused affair that at times is more irritating than fun.
    • 57 Metascore
    • 75 Ty Burr
    High-concept, low-budget, proudly set-bound, Hotel Artemis shouldn’t work at all. Somehow, miraculously, it does.
    • 87 Metascore
    • 75 Ty Burr
    It’s an eerie mood piece that slowly and surely tightens the thumb screws before all hell breaks loose; that and the fact that much of Hereditary takes place in one rambling dark house is evidence that Aster has spent a lot of time studying “The Shining,” “The Exorcist,” and “Rosemary’s Baby.” It’s nice to have a classicist back in town.
    • 61 Metascore
    • 63 Ty Burr
    We go to heist films to see the suckers get taken in high style. This one just robs us bland.
    • 50 Metascore
    • 63 Ty Burr
    Throw out any expectations you might have of coherent narrative structure or directorial control, and you might have a pretty good time.
    • 49 Metascore
    • 75 Ty Burr
    If Mary Shelley disappoints, it’s only because al-Mansour sticks to the tried and true bones of the bio-pic genre and plays it stylistically safe. Maybe the filmmaker hopes to prove her skill with a big-budget period piece; if so, she easily succeeds.
    • 59 Metascore
    • 50 Ty Burr
    The film casts Annette Bening as the vain, aging stage actress Irina Arkadina, Saoirse Ronan as the naive country beauty Nina, and Elisabeth Moss as bitter Masha, dressed in black “in mourning for my life.” Those are three excellent reasons to see the movie, and the filmmaking fights them almost every step of the way.
    • 62 Metascore
    • 63 Ty Burr
    Audiences should feel free to lower their guard — to adjust expectations into B-movie territory. And as a B-movie, “Solo” delivers, sometimes in a way that reminds a viewer of this franchise’s roots in classic Saturday matinee adventure serials and sometimes simply as proficient, dutiful, time-passing entertainment.
    • 53 Metascore
    • 25 Ty Burr
    This feeble excuse for a comedy made me angry, and if you have any cherished cinematic feelings for the quartet of actresses at its center, you may feel angry, too.
    • 63 Metascore
    • 75 Ty Burr
    Pope Francis: A Man of His Word is an essay in radical humility capable of moving a viewer regardless of his or her religious persuasions, or lack thereof.
    • 66 Metascore
    • 63 Ty Burr
    Deadpool 2 is very good at what it does, which is flattering the audience into feeling like it’s in on the joke. If you’re a doubter, though, you may wonder if the joke’s on us.
    • 60 Metascore
    • 50 Ty Burr
    Sadly, it’s not quite as fun as that sounds. If you’re up for something deeply and unsettlingly strange, though, Bruno Dumont’s portrait of the saint as a young zealot has genuine oddball pleasures amid stretches of real tedium.
    • 79 Metascore
    • 75 Ty Burr
    Plays a little like “Sex and the City” as reconceived by a Minimalist composer. That makes the movie sound like a threat, when actually it’s a dry, lightly sad, and very French comedy of romantic neurosis, brought to us by two great artists, director Claire Denis (“Chocolat,” “Beau Travail,” “White Material”) and star Juliette Binoche.
    • 42 Metascore
    • 50 Ty Burr
    It’s an inane, absurd, fitfully amusing time-waster that ranks low on the believability scale and somewhere in the middle as mindless entertainment.
    • 72 Metascore
    • 75 Ty Burr
    RBG
    A documentary love letter to Supreme Court Justice Ruth Bader Ginsburg, and it assumes you love her too.
    • 75 Metascore
    • 75 Ty Burr
    Theron is so good that when Tully climaxes by revealing whole new depths to her character, an audience can’t help but feel cheated. Maybe the rosy, complacent final scenes can fool the filmmakers, but not us, and certainly, one senses, not Theron. The movie’s over, but it feels like the star’s just getting started.
    • 68 Metascore
    • 63 Ty Burr
    Picking up where Joss Whedon, director of the first two “Avengers” films, left off, sibling filmmakers Anthony and Joe Russo have so many pairings and sparrings to work through that the movie is essentially a mixed martial arts extravaganza with a severely overcrowded undercard.
    • 47 Metascore
    • 50 Ty Burr
    The movie’s a mixture of good intentions, a wobbly tone, and a plastic script, and it debuts a somewhat kinder, softer Schumer than the in-your-face comic trainwreck of “Trainwreck” (2015). I’m not sure that’s an improvement.
    • 76 Metascore
    • 75 Ty Burr
    You’ll be in the mood for it or you won’t. 24 Frames is slow cinema at its slowest, and as meaningful as you want to make it. Above all, it breathes with the sensibility of an artist who saw beauty in people and places where most of us never thought to look.
    • 84 Metascore
    • 88 Ty Burr
    It is violent, sad, tender, and alive, and it is as assured a piece of moviemaking as you’ll ever see.
    • 81 Metascore
    • 88 Ty Burr
    By the end of The Peacemaker, you feel you’re watching a Samuel Beckett character furiously trying to improvise himself out of the play. In the process, he’s bringing the rest of us along.
    • 80 Metascore
    • 88 Ty Burr
    It is hard and empathetic and bleak and often beautiful — not far off from a prairie “400 Blows.”
    • 58 Metascore
    • 50 Ty Burr
    The film is arriving on these shores in the wake of such successful foodie nonfictions as “Jiro Dreams of Shushi,” a 2012 art-house hit about an 85-year-old master of raw fish. Like that film, Ramen Heads reaches for the lyrical with slow-motion shots of roiling broth and soaring classical music on the soundtrack. Unlike the earlier movie, it goes so far overboard in ladling out praise that viewers might wonder if they’re being sold a bill of goods.
    • 82 Metascore
    • 75 Ty Burr
    The smarter, scarier horror movies know it’s not how much you show an audience but how little. A Quiet Place takes that maxim in a surprising direction: The tension in this movie — and it’s nearly unbearable at times — comes from how little we hear.
    • 67 Metascore
    • 63 Ty Burr
    An entertainingly brutal portrait of feckless privilege and buried tragedy, hewing reasonably close to those points we know to be true and juicily provocative about what happened in rooms you and I weren’t privy to.

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