Boston Globe's Scores

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For 7,947 reviews, this publication has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Autumn Tale
Lowest review score: 0 Argylle
Score distribution:
  1. Positive: 5,229 out of 7947
  2. Mixed: 1,553 out of 7947
  3. Negative: 1,165 out of 7947
7947 movie reviews
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    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    Summer of Soul captures a moment of the past that was launching itself into the future in a way that feels wholly relevant and inspirational to the present. The movie is a gift.
    • 96 Metascore
    • 100 Critic Score
    Breathless
    Breathless is not an antique or a classic. It is still a new film, because it makes you feel cinema is still new. [18 Nov 2007, p.N9]
    • Boston Globe
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    12 Years a Slave
    12 Years a Slave is to the “peculiar institution” what “Schindler’s List” was to the Holocaust: a work that, finally, asks a mainstream audience to confront the worst of what humanity can do to itself. If there’s no Oskar Schindler here, that’s partly the point.
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    Manchester by the Sea
    Manchester by the Sea is an experience worth having, not for the magnificence of its impact or the far-flung grandeur of its settings but for the way it illuminates with quiet, unyielding grace how you and I and our neighbors get by, and sometimes how we don’t.
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    The Battle of Algiers
    The Battle of Algiers is a thinking person's action film in which there are winners -- but no heroes.
  6. A Hard Day's Night
    In a crisply restored print, it's as joyous as ever. We loved them - yeah, yeah, yeah. Now we can love them all over again.
    • Boston Globe
  7. Ratatouille
    All the voice work here is excellent, especially Oswalt's. He sounds like Paul Giamatti but with a greater capacity for confidence.
  8. Children of Paradise (1945)
    Marcel Carne's Children of Paradise isn't just one of France's great love stories - it's one of film's. [23 Feb 1992, p.B35]
    • Boston Globe
      • Posted Apr 16, 2020
    • 96 Metascore
    • 88 Reviewed by
      Ty Burr
    Gravity
    The movie’s an astonishingly detailed, visually painstaking state-of-the-art production that advances what the cinema can show us—even as the human story at its center feels a little thin after a while.
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    Modern Times (re-release)
    Chaplin's sentimental politics and peerless comic invention dovetailed more perfectly in this film than in any other he made.
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    The Producers
    The one aspect of the original Producers that still stuns is the roaring, over-the-top, in-your-face thereness of its two lead performances.
    • 96 Metascore
    • 75 Critic Score
    Fantasia
    Walt Disney meets classical music with a film that didn't become famous until it was re-released in the '60s and became the ultimate drug film for folks fond of LSD. It is a wonderful animation trip for adults but children might be a bit bored by the lack of story and long running time. Treat it like MTV - a few bits here and there instead of one sitting. [01 Nov 1991, p.35]
    • Boston Globe
  13. Beauty and the Beast
    It's an instant classic, in every way the equal of the great Disney animations of the past. [22 Nov 1991, p.33]
    • Boston Globe
  14. One Battle After Another
    Contrary to Gil Scott-Heron’s song, the revolution of “One Battle After Another” feels more televised than live. After 161 minutes of it, I was tempted to turn the channel.
    • 95 Metascore
    • 100 Reviewed by
      Ty Burr
    The Social Network
    On the level of craft, the movie's just absurdly enjoyable. Sorkin's dialogue dazzles; the photography is burnished and sleek; the editing confidently sorts out a complex narrative.
    • 95 Metascore
    • 100 Reviewed by
      Ty Burr
    Portrait of a Lady on Fire
    Céline Sciamma’s extraordinary fourth feature and a movie of body, heart, and mind.
    • 95 Metascore
    • 100 Reviewed by
      Ty Burr
    I Am Not Your Negro
    Here are great swaths of Baldwin’s prose, read by Samuel L. Jackson in a vocal impersonation that is actually a rather brilliant piece of acting — he convinces you it’s the writer you’re hearing.
  18. Aftersun
    Lemmons’s film is an exercise in memory disguised as Southern gothic.
    • 95 Metascore
    • 100 Reviewed by
      Ty Burr
    Amour
    What happens between two people? Only the chemistry that keeps us from stumbling through the chaos by ourselves. Is that an illusion, too? Amour says it doesn't much matter. There is no dignity in life except love.
  20. The Hurt Locker
    In The Hurt Locker, the thrill is unexpectedly contagious. You don't realize how riveted you are until you're back on American soil observing James in civilian life.
    • 95 Metascore
    • 100 Reviewed by
      Ty Burr
    Zero Dark Thirty
    It's a movie made with the same coolly fanatical attention to craft the lead character displays in her work. Bigelow is now recognized as one of our true filmmaking naturals.
  22. A Separation
    This is a trenchant emotional thriller that you watch in dread, awe, and amazing aggravation. It's entirely predicated upon the outcome of bad decisions - and it is not a comedy. The situation that unfolds approaches the absurdity of farce but denies the relief and release of humor. It's a tragic farce. No option or choice is to be envied.
  23. La Dolce Vita
    Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall.
    • 95 Metascore
    • 100 Reviewed by
      Ty Burr
    WALL-E
    The best American film of the year to date.
    • 94 Metascore
    • 100 Reviewed by
      Ty Burr
    Carol
    Carol is a movie to drink in with eyes, ears, and sensibilities.
    • 94 Metascore
    • 100 Reviewed by
      Ty Burr
    Before Midnight
    If the first two films belong with the greatest (if talkiest) movie romances of all time, the new film is richer, riskier, and more bleakly perceptive about what it takes for love to endure (or not) over the long haul.
    • 94 Metascore
    • 88 Reviewed by
      Ty Burr
    Amazing Grace
    Both in spite of and because of the dichotomy, Amazing Grace demands to be seen, preferably in a crowded, testifying theater. The movie allows us the great, rare privilege of seeing (and hearing) the Queen of Soul reclaiming her soul, by herself, for herself, for her God.
    • 94 Metascore
    • 88 Reviewed by
      Ty Burr
    Dunkirk
    Taken as a whole, Dunkirk invites comparisons to the works of Kubrick and Spielberg, but it’s neither as scalding as “Full Metal Jacket” nor as clear-eyed, as aware of war’s terrible randomness, as “Saving Private Ryan.” Instead, a streak of honest sentiment, earned under the most hellish of circumstances, courses through this movie and provides it with spine and a soul.
    • 94 Metascore
    • 100 Reviewed by
      Ty Burr
    45 Years
    I emerged from the movie in a white-out haze of emotions, synapses overloaded, grateful beyond words to an actress who can convey so much with such subtlety of means.
    • 94 Metascore
    • 100 Reviewed by
      Ty Burr
    Mr. Turner
    A life is not plot; plot is not life. By scrupulously sticking not just to the accuracies of Turner’s life as we know them but to the tiniest of details, the chipped mugs on kitchen tables, the pantaloons on a passing merchant, the spray of storm surf across the bow of a ship, Leigh wants us to truly see the world Turner moved through. Only by seeing that world can we see how he saw and painted it.
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