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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    • 80 Metascore
    • 88 Ty Burr
    The Martian
    The Martian really, truly works — not as art, necessarily, but as the sort of epic, intelligent entertainment the mainstream film industry has supposedly forgotten how to craft. All that, and the movie’s a valentine to creative collaboration as well as an example of it. It’s enough to make you almost grateful.
    • 80 Metascore
    • 88 Ty Burr
    The Sparks Brothers
    Now “the best British band to ever come out of America” gets the documentary treatment from director Edgar Wright, himself a cheeky bugger (Sean of the Dead, Baby Driver), and it is superbly entertaining whether you love Sparks, hate them, or just have never heard of them.
    • 80 Metascore
    • 100 Ty Burr
    The Wrestler
    The Wrestler is a character study, no more and no less, yet it's open-ended enough to function as many things.
    • 80 Metascore
    • 75 Ty Burr
    The Hours
    Still: The Hours is a book about people writing, reading, and living another book, and that literariness makes the movie resist itself.
    • 42 Metascore
    • 50 Ty Burr
    The Internship
    It’s the kind of Hollywood formula product that proves why the formula’s so hard to kill: simultaneously easy to like and impossible to respect.
    • 80 Metascore
    • 50 Ty Burr
    Junebug
    A textbook case of filmmakers who can't make up their minds about their characters; it's a failure of nerve disguised as dramatic ambiguity.
    • 80 Metascore
    • 88 Ty Burr
    Good Time
    Good Time is a prime example of what the cynical or the uninterested might dismiss as “feel-bad cinema” — low budget, kitchen-sink realism about unpleasant people in worse situations. It also happens to be one of the most uncompromising movies I’ve seen all year: vibrant and desperate and alive, it’s a work hanging on by its fingernails.
    • 86 Metascore
    • 100 Ty Burr
    Million Dollar Baby
    More than "Unforgiven," more than "Mystic River," it is Clint Eastwood's autumnal masterpiece.
    • 64 Metascore
    • 75 Ty Burr
    JCVD
    JCVD may not be the first meta-musclehead movie, but it's certainly the most surprising.
    • 80 Metascore
    • 88 Ty Burr
    Everlasting Moments
    Quiet, observant, and intensely moving whenever Heiskanen is on screen, and it has a valedictory sweep that feels like a summing up.
    • 80 Metascore
    • 63 Ty Burr
    The Secret World of Arrietty
    At the technical level, The Secret World of Arrietty isn't as ambitious as the studio's finest work, and the animation is stronger on texture than detail.
    • 80 Metascore
    • 88 Ty Burr
    The Queen of Versailles
    Queen of Versailles is still worthwhile, not because it questions all-American entitlement but because it prompts us to think hard about what, exactly, we believe we're entitled to.
    • 80 Metascore
    • 88 Ty Burr
    Theeb
    A mesmerizing coming of age adventure in an elemental setting, Theeb becomes both more allegorical and more specific to our historical moment the more you think about it.
    • 80 Metascore
    • 88 Ty Burr
    Incendies
    A mystery, a melodrama, a prison film, and a love story, Incendies is foremost a scream of rage at a society destroyed by religion and by men.
    • 80 Metascore
    • 50 Ty Burr
    Incredibles 2
    The result is a clattery, unfocused affair that at times is more irritating than fun.
    • 80 Metascore
    • 100 Ty Burr
    Totally Under Control
    The movie is enraging, necessary, and above all, useful.
    • 80 Metascore
    • 75 Ty Burr
    She's Beautiful When She's Angry
    The word “feminism” itself has become toxified. For young women who might be despairing as they fight the good fight, this film provides context, roots, and the wisdom of elders.
    • 80 Metascore
    • 75 Ty Burr
    Casino Royale
    If you miss the old cliches, consider whether, after 21 Bond films and countless parodies, your response is simply Pavlovian.
    • 85 Metascore
    • 88 Ty Burr
    Mudbound
    Mudbound is four-square and unshowy, and you might mistake it for old-fashioned. But the presence of an African-American director behind the camera affects everything in front of it.
    • 80 Metascore
    • 88 Ty Burr
    Saraband
    Builds slowly and naturally to an unbearable personal crisis.
    • 80 Metascore
    • 75 Ty Burr
    Nine Lives
    Not all of Nine Lives clicks, but at its best it finds an inarticulate sisterly solace that makes you want to see what this director could do with one life per film.
    • 51 Metascore
    • 63 Ty Burr
    Savage Grace
    A chilly inquest into very bad behavior, Savage Grace is presented to us like an entrée at a five-star French restaurant. It's decadence under glass.
    • 80 Metascore
    • 75 Ty Burr
    Love & Mercy
    Despite the lumps in the batter, Love & Mercy ends up involving and affecting, because the performances are honest and the stories it tells are inherently dramatic.
    • 80 Metascore
    • 75 Ty Burr
    American Honey
    Ironically, the film itself is as gentle and unexploitative as they come. Yes, it deserves the rating, and yes, it depicts teenagers doing things the grown-ups would rather not admit they actually do, but it does so with a poetic curiosity and a sense of what it’s like to be young, poor, and rootless — both future-less and free.
    • 71 Metascore
    • 75 Ty Burr
    The Boss of It All
    The Boss of It All finds the common ground between business and acting -- panicky improvisation -- and wonders whether applause or an executive comp package is the greater reward.
    • 69 Metascore
    • 88 Ty Burr
    The Sleeping Beauty
    At its best, The Sleeping Beauty reclaims fairy tales as a kind of oral folk REM state, chewing over anxieties about adulthood, behavior, sex, and belonging in potent symbolic form.
    • 80 Metascore
    • 88 Ty Burr
    A Hidden Life
    The movie takes its place alongside Martin Scorsese’s “Silence” (2016) as a work of true solemnity, one that wonders what we owe the divine in our worldly life. If the Scorsese film is arguably about the profoundest of doubts, A Hidden Life is something different. It’s an act of faith. Maybe Malick knows we’ll be needing it.
    • 80 Metascore
    • 88 Ty Burr
    The Meyerowitz Stories (New and Selected)
    In temperament and technique, the writer-director Noah Baumbach occupies a niche exactly between Woody Allen and Wes Anderson. Baumbach’s films are almost all about his own tribe of neurotic upper-middle-class white New Yorkers, but while he has a more novelistic distance on his characters than Allen, his visual style is less antic and whimsical — more traditional — than Anderson’s.
    • 80 Metascore
    • 75 Ty Burr
    Bigger Stronger Faster*
    A hugely entertaining personal documentary about what steroids mean to American pop culture.
    • 80 Metascore
    • 88 Ty Burr
    Star Wars: Episode VII - The Force Awakens
    Abrams understands what George Lucas never quite figured out: that we’re less interested in the science fiction future than we are in revisiting the past. We don’t really want to see what happens next in that galaxy far, far away. We want to recapture what it felt like the first time we arrived, in 1977, with a movie called “Star Wars.” We want to go home. Star Wars: The Force Awakens takes us there.
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