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The highest documented Rotten Tomatoes critic result in the 18 October 2026 snapshot is Going Postal: The Legacy Foretold, while Alone in the Dark has the lowest. Those two entries come from Rotten Tomatoes’ broad Uwe Boll filmography, which includes credits beyond directing. Among the Boll-directed titles in the IMDb-based comparison, Rampage (2009) has the strongest viewer average.
The rankings below keep critic percentages, audience percentages, Metacritic points and IMDb averages separate. They are different measurements and should not be blended into one “overall” score.
How this ranking is built
This is a point-in-time comparison of figures available on 18 October 2026. Rotten Tomatoes supplies the main critic ranking because its Uwe Boll filmography can be sorted by critics and audience. Its Tomatometer percentage is the share of counted critic reviews marked positive, not an average grade. The Rotten Tomatoes audience percentage is a separate user measure and is not available for every title in the retrieved filmography.
Metacritic uses a 0–100 weighted critic score. IMDb uses a 0–10 user average. A 95% Rotten Tomatoes score, a 69% audience score, a Metacritic 69 and an IMDb 6.9 do not represent the same calculation or population. The tables therefore report each service on its own scale.
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Rotten Tomatoes’ filmography is broader than a list of movies Boll directed. It can include producer, actor and other credits. The critic table identifies that distinction rather than silently presenting every filmography entry as a directed film. Missing audience information is marked as not listed; it is not treated as zero.
Rotten Tomatoes critic ranking
| Order by critic percentage | Film and year | Rotten Tomatoes critics | Rotten Tomatoes audience | Credit scope and source |
|---|---|---|---|---|
| 1 | Going Postal: The Legacy Foretold (2025) | 98% | Not listed on the Rotten Tomatoes filmography entry accessed 18 October 2026 | Broader Boll filmography entry; not counted here as a Boll-directed title |
| 2 | Do Not Expect Too Much from the End of the World (2023) | 95% | 69% | Broader Boll filmography entry; used as a contrast with the directed-title subset |
| 3 | Rampage: Capital Punishment (2014) | 44% | Not listed in the retrieved Rotten Tomatoes filmography figures | Boll-directed-title comparison; Rotten Tomatoes filmography, accessed 18 October 2026 |
| 4 | Assault on Wall Street (2013) | 25% | 42% | Boll-directed-title comparison; Rotten Tomatoes filmography, accessed 18 October 2026 |
| 5 | In the Name of the King: A Dungeon Siege Tale (2007) | 4% | 22% | Rotten Tomatoes figures reported by AS España/MeriStation in 2024 |
| 6 | House of the Dead (2003) | 3% | Not listed in the retrieved Rotten Tomatoes figures | Rotten Tomatoes search result; Metacritic also lists the film |
| 7 | Alone in the Dark (2005) | 1% | Not listed in the retrieved Rotten Tomatoes figures | Rotten Tomatoes search result; Metacritic also lists the film |
The table is a ranking of documented critic percentages, not a claim that every Boll credit has been captured or that the order can never change. New reviews and user ratings can move a score, and newer releases may have relatively small review counts.
Viewer ratings and the separate IMDb and Metacritic picture
IMDb’s highest-rated Boll-directed entry in the comparison
| Film | IMDb user average | What the figure represents |
|---|---|---|
| Rampage (2009) | 6.2/10 | Highest IMDb rating in the Boll-directed ranking analyzed by The Filmaholic, retrieved in 2026 |
| In the Name of the King: A Dungeon Siege Tale (2007) | 3.8/10 | IMDb figure reported by AS España/MeriStation in 2024 |
Rampage’s position is important because it answers a different question from the Rotten Tomatoes critic table: it is the strongest viewer-average reference among the directed films in the IMDb-based comparison, not the highest Rotten Tomatoes critic percentage.
Metacritic scores for the game adaptations and fantasy films
| Film | Metacritic critic score | Source context |
|---|---|---|
| Alone in the Dark (2005) | 9/100 | Metacritic listing |
| House of the Dead (2003) | 15/100 | Metacritic listing |
| In the Name of the King: A Dungeon Siege Tale (2007) | 15/100 | Metacritic listing |
| BloodRayne (2005) | 18/100 | Metacritic listing |
BloodRayne is also identified in Rotten Tomatoes coverage as one of Boll’s low-scoring game adaptations, although the retrieved material does not provide a Rotten Tomatoes percentage for it. Leaving that number out is more accurate than inferring one from Metacritic.
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What the numbers actually tell you
The top critic entries need a credit check
The two highest Rotten Tomatoes critic percentages belong to newer titles in the broad filmography. That does not automatically make either one the best Boll-directed movie. Before using the ranking to choose a directed film, check the individual credit: the filmography contains movies associated with Boll as a producer or actor as well as movies he directed.
This distinction explains why a broad filmography sort can produce a surprising result. A critic ranking answers “which entries associated with Boll have the strongest counted reviews?” A directed-film ranking answers “which films he directed rank highest?” Those are not interchangeable lists.
Critics and viewers can disagree sharply
Assault on Wall Street is a clear example: its audience percentage is higher than its critic percentage. The same pattern appears more dramatically with In the Name of the King, where the audience figure reported in 2024 is above the critic result even though both are low. A viewer score can reflect genre expectations, home-viewing audiences, or a devoted niche following that professional reviews do not share.
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The game-adaptation pattern is unusually weak
House of the Dead, Alone in the Dark, BloodRayne and In the Name of the King all sit near the bottom of the available critic evidence. The two services that report the clearest figures agree on the direction even though their scales differ: the Metacritic scores are in the single digits or teens, and the Rotten Tomatoes percentages are correspondingly very low where available.
That agreement is not proof that every viewer will dislike the films. It does indicate that these adaptations received weak professional notices across more than one aggregator, so a viewer choosing them should do so for interest in the source games, cast or particular style rather than expecting broad critical approval.
Film-specific reading guide
Going Postal: The Legacy Foretold
Its critic percentage is the highest documented in the snapshot, but the missing Rotten Tomatoes audience field means there is no paired viewer result to interpret. The safe conclusion is limited: critics counted by Rotten Tomatoes responded positively; the available material does not establish how the platform’s audience rated it.
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Do Not Expect Too Much from the End of the World
This title combines a strong critic result with a substantial audience percentage. It is useful when you want an example of critics and viewers landing on the same broadly favorable side, while remembering that it is included as a broader filmography contrast rather than assumed to be Boll-directed.
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Rampage: Capital Punishment
The mid-range critic result places it well above the weakest entries in the table, but the retrieved figures do not include an audience percentage. Do not substitute the IMDb result for its missing Rotten Tomatoes audience score; they measure different users and scales.
Assault on Wall Street
The critic-audience gap makes this one especially useful for readers who want to see how reception can split. Its audience percentage is the stronger of the two Rotten Tomatoes measures supplied for the film.
Rampage (2009)
This is the viewer-oriented pick in the directed-title comparison because it leads the cited IMDb averages. That conclusion comes from IMDb users, not from a Rotten Tomatoes critic ranking, and should be read within the 2026 filmography analysis rather than as a universal consensus.
House of the Dead, Alone in the Dark and BloodRayne
These films form the clearest low-critical-reception cluster. Alone in the Dark is the lowest documented Rotten Tomatoes critic result and also has the lowest Metacritic score among the listed titles. House of the Dead is only slightly higher on Rotten Tomatoes but remains very low on Metacritic. BloodRayne lacks a supplied Rotten Tomatoes percentage, yet its Metacritic score places it in the same critical neighborhood.
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In the Name of the King: A Dungeon Siege Tale
This film is the best demonstration of why one service should not be treated as a master score. Its Rotten Tomatoes critics and audience percentages differ, while its IMDb average is on a 10-point scale and its Metacritic score is on a 100-point scale. Report each result with its platform instead of averaging them.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Which movie should you choose?
- You want the strongest documented critic response: start with the top Rotten Tomatoes entries, then verify whether the title is a Boll-directed film or another kind of Boll credit.
- You want the strongest viewer signal for a directed movie: use Rampage (2009) as the IMDb-based starting point.
- You want a critics-versus-viewers case study: choose Assault on Wall Street or In the Name of the King, where the supplied audience figures sit above the critic results.
- You are specifically exploring video-game adaptations: expect very low professional scores for House of the Dead, Alone in the Dark, BloodRayne and In the Name of the King; select among them for subject matter rather than review strength.
“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.”
Rotten Tomatoes, Postal page
How to read and update these rankings
- Keep the retrieval date with every score. Rotten Tomatoes percentages and IMDb averages can change as additional reviews and user ratings arrive.
- Check review counts before treating a newer film’s percentage as stable. A high percentage based on a limited number of reviews can move more than an older title with a large review base.
- Do not convert a missing audience field into a zero. “Not listed” means the cited filmography extract did not expose a value.
- Do not compare a Rotten Tomatoes percentage directly with a Metacritic point or IMDb average. Present the platform and scale beside the number.
- Filter by directing credit if your question is specifically about movies Boll directed. The broad Rotten Tomatoes filmography includes other kinds of involvement.
Used this way, the ranking answers three separate questions without manufacturing a false consensus: which associated entries have the strongest Rotten Tomatoes critic percentages, which directed title leads the cited IMDb viewer averages, and which films sit at the bottom of the available critic evidence.
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