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Going Postal: The Legacy Foretold (2025) has the highest documented Rotten Tomatoes critic score in this snapshot at 98%, followed by Do Not Expect Too Much from the End of the World (2023) at 95%. Among Boll-directed films with an IMDb figure in the retrieved comparison, Rampage (2009) leads viewer averages at 6.2/10. At the opposite end, Alone in the Dark (2005) records 1% on Rotten Tomatoes and 9/100 on Metacritic.
Those results are not one universal league table. Rotten Tomatoes reports the percentage of positive reviews, Metacritic uses a weighted 100-point critic score, and IMDb reports a 10-point user average. The rankings below keep those systems separate and preserve the retrieval date: October 18, 2026 (UTC).
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How this ranking works
The comparison uses the Rotten Tomatoes Uwe Boll filmography as the broadest starting point, with its critic percentage as the main review ranking. Where the retrieved filmography displayed one, the Rotten Tomatoes audience percentage appears in a separate column. Metacritic and IMDb are reference measures, not ingredients in a blended score.
A Rotten Tomatoes critic percentage is the share of counted critic reviews marked fresh; it is not an average grade. Its audience percentage is a separate pool of user ratings. Metacritic’s number is a weighted aggregation on a 100-point scale, while IMDb’s figure is a user average out of 10. A 95% Rotten Tomatoes result therefore cannot be mathematically compared as “better” or “worse” than a 7.0 IMDb rating without knowing the underlying reviews, voters and weighting.
#1 Best Overall
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The snapshot also covers the filmography rather than an automatically verified director-only catalogue. Boll has credits as director, producer and actor, and a filmography ranking can include all three. The table flags where the retrieved material does not establish his exact role, so a reader looking only for movies he directed can avoid treating every row as a directing credit.
At-a-glance ranking from the retrieved scores
| Film | Year | Rotten Tomatoes critics | Rotten Tomatoes audience | Metacritic critics | IMDb users | Credit and evidence note |
|---|---|---|---|---|---|---|
| Going Postal: The Legacy Foretold | 2025 | 98% | Not stated in the retrieved snapshot | Not stated | Not stated | Highest documented critic percentage; the snapshot does not establish Boll’s specific credit. |
| Do Not Expect Too Much from the End of the World | 2023 | 95% | 69% | Not stated | Not stated | Strong critic and audience result; included through the filmography comparison. |
| Rampage: Capital Punishment | 2014 | 44% | Not stated | Not stated | Not stated | Mid-range documented Rotten Tomatoes critic result. |
| Assault on Wall Street | 2013 | 25% | 42% | Not stated | Not stated | Critics and viewers differ materially. |
| Rampage | 2009 | Not stated | Not stated | Not stated | 6.2/10 | Boll-directed title; highest IMDb average in the retrieved Boll-directed ranking. |
| In the Name of the King: A Dungeon Siege Tale | 2007 | 4% | 22% | 15/100 | 3.8/10 | 2024 report supplies all four cross-site figures. |
| BloodRayne | 2005 | Not stated; identified as low-scoring | Not stated | 18/100 | Not stated | Metacritic comparison for a game adaptation. |
| Alone in the Dark | 2005 | 1% | Not stated | 9/100 | Not stated | Lowest documented critic result in the retrieved material. |
| House of the Dead | 2003 | 3% | Not stated | 15/100 | Not stated | One of the clearest low-critical-reception examples. |
“Not stated” means the retrieved evidence did not expose a value; it does not mean zero, no votes or a failed score.
The highest critic results
Going Postal: The Legacy Foretold (2025)
This film sits first when the available Rotten Tomatoes critic percentages are ordered from highest to lowest. Its 98% is the strongest documented critic result in the October 2026 snapshot. The audience field was not shown in the retrieved extract, so there is no defensible viewer conclusion for this title. Treat the placement as a critic-only lead, not proof that it is the most popular Boll film with audiences.
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Do Not Expect Too Much from the End of the World (2023)
The 2023 title follows closely on critic reception and is more informative for readers who want both sides of the response because Rotten Tomatoes also displays an audience percentage. The two measures are substantially stronger than the scores attached to the low-rated game adaptations elsewhere in the table. Its inclusion also shows why a Boll filmography search should not be assumed to contain only movies he directed; the retrieved comparison does not document the precise credit for this entry.
Rank #2
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Rampage: Capital Punishment (2014)
This sequel occupies the middle of the documented Rotten Tomatoes critic range. It is useful as a boundary case: it is neither grouped with the near-bottom adaptations nor with the two newest critic leaders. No audience, Metacritic or IMDb figure was exposed in the retrieved material, so its position should not be converted into a cross-platform average.
Assault on Wall Street (2013)
The gap between the critic and audience columns is the important fact here. Viewers rate the film more favorably than critics do, but neither number should be read as a verdict on all of Boll’s work. Differences can arise from who chooses to watch the film, when users vote and how many reviews each service has counted.
What viewers rate highest
Rampage (2009) leads the IMDb reference
An IMDb-based filmography analysis identifies Rampage as the highest-rated Boll-directed film in that comparison, with a 6.2/10 user average. This is the clearest viewer-oriented answer for readers asking which Boll-directed movie users rate best, but it is not a Rotten Tomatoes audience percentage and cannot be placed directly beside one as if both were the same statistic.
Do Not Expect Too Much from the End of the World has the strongest two-sided showing
Unlike titles for which only a critic figure is available, this film has both a high Rotten Tomatoes critic result and a substantial audience percentage in the retrieved filmography. That combination makes it the strongest all-round reception example in this snapshot, while still leaving the exact number of ratings and Boll’s role unresolved in the supplied comparison.
Rank #3
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Assault on Wall Street shows a smaller critic-viewer split
Its audience percentage exceeds its critic percentage, demonstrating that a low critic placement does not automatically mean viewers responded identically. Readers should inspect each service’s review count and date before drawing conclusions about consensus.
The lowest-scoring group and the game-adaptation pattern
Alone in the Dark (2005)
Alone in the Dark has the lowest documented Rotten Tomatoes critic percentage in the retrieved material and the lowest Metacritic figure listed here. Both are critic measures, so they establish severe professional-review reception but do not supply an audience verdict. The two platforms also use different methodologies, making the figures complementary warning signs rather than a combined score.
House of the Dead (2003)
This title is another extreme low-critic example on Rotten Tomatoes. Its presence near the bottom helps explain the reputation of Boll’s early video-game adaptations, but a critic percentage alone cannot tell you whether a film developed a later cult audience.
BloodRayne (2005)
Metacritic places BloodRayne in the low-scoring adaptation group. The retrieved Rotten Tomatoes coverage identifies it as one of Boll’s low-rated adaptations but does not provide a precise critic percentage or audience percentage in the extract, so the table does not invent either value.
Rank #4
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In the Name of the King: A Dungeon Siege Tale (2007)
This film is the clearest cross-platform disagreement among the titles with a complete set of figures. A 2024 report gives Rotten Tomatoes critics and audience percentages, an IMDb user average and a Metacritic critic score. The audience number is higher than the critic number, yet the IMDb average remains low, illustrating that even two user-oriented systems can produce different impressions because their voter pools and scales differ.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Why you should not merge the scores
- Different scales: Rotten Tomatoes is a percentage of positive reviews, Metacritic is a weighted score out of 100, and IMDb is an average out of 10.
- Different populations: Critics, verified or unverified audience reviewers and IMDb voters are not interchangeable groups.
- Different timing: Scores move as new reviews and votes arrive. The values above are a dated snapshot, not permanent grades.
- Different coverage: The retrieved Rotten Tomatoes extract does not expose every audience score, and newer films may have limited review counts.
- Different credits: A broad filmography can include producing or acting appearances. A director-only list requires filtering the credits title by title.
For a practical reading order, use Rotten Tomatoes critics to identify the strongest documented review reception, check its audience column for evidence of viewer agreement, then consult IMDb or Metacritic only as separate context. Never treat a missing audience value as zero, and never rank a film above another solely because one service uses a larger-looking number.
Which Uwe Boll movie should you choose?
If critics’ approval is your priority
Start with the two newest critic leaders in the table, while remembering that the first has no audience percentage in the retrieved extract and that review counts may be limited for a recent release.
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Choose Rampage, the title identified as the leader of the retrieved IMDb-based Boll-directed ranking. Its 6.2/10 figure answers the viewer-rating question on IMDb’s scale only; it does not establish a Rotten Tomatoes or Metacritic position.
Best Value
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If you are studying the negative critical consensus
Alone in the Dark and House of the Dead provide the starkest Rotten Tomatoes examples, while BloodRayne and In the Name of the King extend the comparison through Metacritic and, for the latter, IMDb and audience data.
Evidence limits to keep in mind
All figures here were retrieved on October 18, 2026 (UTC). Rotten Tomatoes, Metacritic and IMDb can revise scores when reviews or votes are added, and the available extract does not record every review or rating count. Consequently, this is the most transparent ordering supported by the documented values, not a definitive all-time census of every Boll credit.
Rotten Tomatoes’ own description of Postal captures the mixed critical attitude often associated with Boll’s catalogue: “An attempt at political satire that lacks any wit or relevance, Postal is nonetheless one of Uwe Boll’s more successful films — for what it’s worth.” That is qualitative commentary, not a numerical score, and it should remain separate from the rankings above.
Quick Recap
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