Boston Globe's Scores

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For 7,950 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 point 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: 5,231 out of 7950
  2. Mixed: 1,554 out of 7950
  3. Negative: 1,165 out of 7950
7950 movie reviews
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  1. Prime
    Yes, Younger has made an update of the ''shiksa who changed my life" story in ''Annie Hall." But Prime is missing the psychological acuity and scabrous cultural wit of Woody Allen at his best. These lovers meet standing in line to see Antonioni's ''Blow-Up" and never mention the movie.
  2. O Brother, Where Art Thou?
    A clever and satisfyingly abundant entertainment.
  3. The Last Castle
    The kind of movie you can enjoy easily enough, as long as you don't think about it much.
    • Boston Globe
  4. Me, Myself & Irene
    It has a few laughs, but it also has a lot of dead air, and barely any plot at all. In sporting terms, it's no home run.
    • Boston Globe
    • 23 Metascore
    • 75 Reviewed by
      Ty Burr
    Formula 51
    Bloody and bloody funny, and Jackson and Carlyle make the best salt-and-pepper team since Eddie Murphy and Nick Nolte knocked heads in ''48 HRS., '' but ultimately the movie can't find a way out of its own dead end.
  6. National Security
    The film is profane. But who knew police brutality could play as a laughing matter?
  7. Fellini: I'm a Born Liar
    Only loosely concerned with behind-the-scenes gossip and is squarely focused on the nature of Fellini's insatiability.
  8. Hukkle
    There's scarcely any dialogue, and the "hukkle" sound is universal enough to make subtitles unnecessary and to please an audience of any age and attention span.
  9. Upside Down
    Solanas’s daring takes the form of ambition. Upside Down has a visionary look that has affinities with everything from “Metropolis” to “Blade Runner” to “Children of Men.” Solanas has the temerity to split the screen horizontally in many shots. Usually, this works, though “Upside Down” is not recommended for anyone subject to visual dislocation.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    Summer Wars
    In Summer Wars, it's what's old that's made to seem refreshingly new.
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    Looking for Eric
    Eric begins this story as a sad-eyed cipher and ends it as a whole man, and maybe that’s structure enough, and reason enough, for one film.
    • 52 Metascore
    • 75 Reviewed by
      Ty Burr
    The Producers
    Susan Stroman directed the show on Broadway and what she has done here is photograph that show -- no more, no less. This is good news for anyone who couldn't afford a trip to New York and $100 tickets, but it's a fairly odd approach to cinema.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Stronger
    Gyllenhaal’s excellent, but, playing his girlfriend, Tatiana Maslany (star of TV’s “Orphan Black”) is something special.
    • 71 Metascore
    • 75 Reviewed by
      Ty Burr
    The Great Buster: A Celebration
    The stone-faced silent comedian’s influence on every possible aspect of physical comedy is wide and deep, attested to in this movie by entertainers old (Bill Irwin, Paul Dooley, Richard Lewis), ancient (Mel Brooks, Carl Reiner), youngish (Bill Hader, Quentin Tarantino), and random (Cybill Shepherd, Werner Herzog).
    • 81 Metascore
    • 75 Reviewed by
      Ty Burr
    Tina
    Tina is celebratory and glossy, with no mention of her recent health issues, her son’s 2018 suicide, or other painful subjects. The life is still more than eventful enough.
    • 82 Metascore
    • 75 Reviewed by
      Ty Burr
    Winged Migration
    If it were any more real - if it were Imax, say -- the audience would be molting.
  17. Spider-Man 2
    Raimi seems more comfortable being his outlandishly jokey, B-movie self, letting entire sequences play on the line between carefree schlock and Hollywood blockbusting.
  18. The Way We Get By
    Watching them issue hugs produces an involuntary response. You want to hug them, too.
    • Boston Globe
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    The Wolfpack
    The movie only looks like a coming-of-age freak show from the outside; in reality, it’s unexpected proof that flowers can grow even in a prison.
  20. Brad's Status
    In Brad’s Status, Stiller becomes the face of white male privilege — and its comeuppance.
  21. The Closet
    Perhaps not the most uproarious of Veber's farces, but entertaining and emotionally satisfying all the same.
    • Boston Globe
  22. Cast Away
    The film's most remarkable achievement, in this culture of clamor, simply may be its decision to keep the volume down, drawing us in as opposed to pummeling us, as most films do.
    • Boston Globe
  23. Contagion
    As a filmmaker Soderbergh requires nothing more of us than a willingness to enjoy ourselves. He had fun. Why shouldn't we? With Contagion, the fun begins with a cough.
    • 80 Metascore
    • 75 Reviewed by
      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.
  25. Mr. Gaga
    Slowly it emerges that Gaga is Naharin’s “dance language,” a way of expressing one’s inner being through external movement. Gaga is dada — for dancers.
  26. The Five Obstructions
    Part of what hooks you to this movie is how Leth outsmarts his taskmaster, and how the two men have divergent, almost incompatible aesthetic ideals.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Working Woman
    Without stooping to the uselessness of style, Working Woman makes its points simply by staying with Orna as she proceeds through stages of shock, humiliation, self-loathing, self-censorship, all emotions her husband finds difficult to understand and which the Bennys of the world rely on.
  28. (Untitled)
    Walking the line between the movie’s broad strokes and its near-perfect pitch is the art itself, which has been designed and constructed by a team of smart designers.
  29. East Is East
    This engaging ensemble comedy that could have been called ''Father Doesn't Know Best.''
    • Boston Globe
  30. Trembling Before G-d
    Examines this dilemma with compassion and sensitivity.
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