Ty Burr

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Boston Globe, Entertainment Weekly, Washington Post
For 2,962 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 1.1 points higher than other critics. (0-100 point scale)

Ty Burr's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 The Kid Stays in the Picture
Lowest review score: 0 The Nutcracker
Score distribution:
  1. Positive: 2,118 out of 2962
  2. Mixed: 484 out of 2962
  3. Negative: 360 out of 2962
2962 movie reviews
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    • 54 Metascore
    • 58 Ty Burr
    Bride of Re-Animator
    The original Re-Animator was made by an artist working on a wicked, energetic high. Bride of Re-Animator is a smart piece of hack work. In the end, it’s best left standing at the altar.
    • 48 Metascore
    • 58 Ty Burr
    Kiss Me, Guido
    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.
    • 66 Metascore
    • 58 Ty Burr
    Dark City
    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.
    • 49 Metascore
    • 58 Ty Burr
    Dr. Dolittle 2
    Murphy gives a reined in performance that, every so often, shows a spark of the ''Shrek''ish donkey within.
    • 48 Metascore
    • 58 Ty Burr
    Jennifer 8
    A lukewarm thriller.
    • 55 Metascore
    • 58 Ty Burr
    The Relic
    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.
    • 74 Metascore
    • 58 Ty Burr
    Thirteen Conversations About One Thing
    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.
    • 41 Metascore
    • 58 Ty Burr
    Lionheart
    By never fessing up to its own bloodlust, Lionheart is, at bottom, chickenhearted.
    • 56 Metascore
    • 58 Ty Burr
    Alive
    As engrossing as it is, the movie still tells only half the story: the other, nobler half.
    • 84 Metascore
    • 58 Ty Burr
    The Joy Luck Club
    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.
    • 64 Metascore
    • 50 Ty Burr
    The Rover
    There’s a thin line between the iconic and the generic, and The Rover, a grim post-apocalyptic drama from down under, wanders back and forth across it in an adrenaline daze.
    • 51 Metascore
    • 50 Ty Burr
    The Hard Word
    Wonderful characters, these three, and The Hard Word never figures out what to do with them.
    • 34 Metascore
    • 50 Ty Burr
    Ghosts of Girlfriends Past
    Ghosts is better-than-average McConaughey swill, but not by much - that's its pleasure and its curse.
    • 41 Metascore
    • 50 Ty Burr
    Meet the Fockers
    What a waste.
    • 68 Metascore
    • 50 Ty Burr
    Popstar: Never Stop Never Stopping
    Genial, silly, and instantly forgettable, Popstar: Never Stop Never Stopping is just another piece of product from the larger “Saturday Night Live” universe, a way for a former cast member to try to prove he’s capable of carrying a movie.
    • 33 Metascore
    • 50 Ty Burr
    Catch That Kid
    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.
    • 47 Metascore
    • 50 Ty Burr
    The Witches
    It’s rated PG, but trust me, it’ll give younger kids the screaming meemees.
    • 65 Metascore
    • 50 Ty Burr
    Everything Must Go
    A comparison to Carver's original story - called "Why Don't You Dance?," easily Googleable, and all of 1,600 words long - is instructive.
    • 47 Metascore
    • 50 Ty Burr
    Monogamy
    Monogamy sets up a nifty idea that it doesn't follow through.
    • 30 Metascore
    • 50 Ty Burr
    The Smurfs
    The bottom line: Any movie that gives Jonathan Winters work is doing something right.
    • 55 Metascore
    • 50 Ty Burr
    Young Goethe in Love
    What it is is watchable, a thoroughly professional piece of Great Man hackwork that lacks the invention and spirit of its obvious model, "Shakespeare in Love.''
    • 51 Metascore
    • 50 Ty Burr
    Johnny English
    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.
    • 69 Metascore
    • 50 Ty Burr
    Ong Bak
    A sizable amount of national pride is on display in Ong-Bak.
    • 43 Metascore
    • 50 Ty Burr
    9 Songs
    It's a smart, provocative idea for a movie. I wish 9 Songs was that movie.
    • 61 Metascore
    • 50 Ty Burr
    Magic Mike XXL
    The first hour of Magic Mike XXL is deadly.
    • 45 Metascore
    • 50 Ty Burr
    S.W.A.T.
    Those who love police overkill, guns, jingoistic race-baiting, guns, macho smugness, and guns will be well served.
    • 53 Metascore
    • 50 Ty Burr
    Knight of Cups
    Lubezki is arguably this movie’s secret star, and he invests the movie’s Los Angeles settings with the strangeness and newness of a NASA rover traveling across Mars.
    • 51 Metascore
    • 50 Ty Burr
    Casino Jack
    Glib, fast-paced entertainment that barely leaves a mark - which, given the subject, is just plain wrong.
    • 64 Metascore
    • 50 Ty Burr
    MaXXXine
    The problem with making homages to junky genre movies is that sometimes you just end up with a junky genre movie.
    • 64 Metascore
    • 50 Ty Burr
    Downsizing
    The film’s ultimate message — help other people, basically — is, while useful and necessary, dramatically rather slack, and you notice with a shock that the film’s central conceit has almost entirely dropped off the table by the final third. Payne’s microcosm is so like our macrocosm that after a while he simply forgets to make the distinction.
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