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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    • 72 Metascore
    • 75 Critic Score
    Pusher
    Refn's direction in Pusher exhibits an uncanny prescience for techniques that would peak a decade later as reality TV -- low-budget, digital video; the use of a tipsy, peripatetic camera; and a wide-angle lens to engulf all the action.
  2. Museum Hours
    Museum Hours is an unusual film. It lacks a score yet feels like a sonata, intimate and musical. Secret harmonies are being heard.
  3. The Other Son
    It's done persuasively enough that you wonder how you'd feel under similar circumstances.
  4. JFK
    It's riveting moviemaking and a boost for what's left of America's ailing collective life. [20 Dec 1991]
    • Boston Globe
  5. In the Shadow of the Moon
    It's so simple, so obvious - and a revelation.
  6. Chocolat
    May not be deep, but it certainly is lip-smacking.
    • Boston Globe
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Tomboy
    Tomboy is as visually beautiful as its 10-year-old heroine is defiantly plain.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Spartan
    When Spartan is good, it's surprisingly gripping and fresh, and when it's bad, it's just another overcooked Hollywood paranoid thriller.
  9. The Patriot
    It's often corny, but it's never boring, and it'll sweep you up in its momentum if you give it a chance.
  10. First They Killed My Father
    Jolie does not dwell on the atrocities, though a horrifyingly ironic battle scene near the end contains some gruesome imagery.
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Dolphin Tale
    The dolphin is, quite simply, remarkable, and the unstated message of resilience and adaptation ripples easily off the screen to the smallest viewers.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Colliding Dreams
    Directed from the center-left with an ear to parties on both sides of the West Bank separation barrier, it’s knowledgeable and unhysterical, openhearted without seeming naïve. Those on the extremes will probably hate it.
    • 68 Metascore
    • 75 Reviewed by
      Ty Burr
    Primer
    Shane Carruth's extraordinary work of shoestring speculation throws you into a deep ocean of techno-jargon and lets you dog-paddle or sink like a stone.
  14. The King
    The idea behind Eugene Jarecki’s nonfiction film The King — you can’t really call it a documentary — is crazy-good inspired.
  15. Abominable
    Yes, as it turns out — not only is Abominable as amusing as the competition, it boasts a lyricism and sweetness uniquely, sublimely its own.
  16. Crazy, Stupid, Love
    The fun is in watching these robustly generic people trip over and pinball off of each other, seeing them eddy around Carell, who as the straight man here is getting dangerously close to Greg Kinnear's territory - where comedy is too self-serious to laugh at.
  17. Scrooged
    Scrooged is that rarest of contemporary Hollywood phenomena -- a Christmas movie with Christmas spirit. [23 Nov 1988, p.21]
    • Boston Globe
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Keep an Eye Out
    There’s not a lot of depth to Keep an Eye Out, but there is a singular vision at work and at play.
  19. King Corn
    It's fair to say that a meaner documentary might have packed more punch. But it's hard to imagine Michael Moore turning out anything that feels as pleasantly nourishing.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    I Served the King of England
    A charming, damning portrait that has been stinging audiences in the Czech Republic since its 2006 release. In any language, what the movie says about surviving fascism by rolling with it speaks loud and clear.
    • 81 Metascore
    • 75 Reviewed by
      Ty Burr
    The Revolution Will Not Be Televised
    Mao had it wrong; in ''Revolution,'' political power comes out of the barrel of a TV tube.
  22. Sólo con tu pareja
    Without trivializing the disease, the film challenges AIDS' stigma (albeit for heterosexuals) at a moment when it was still considered a death sentence.
  23. William Kunstler: Disturbing the Universe
    This engrossing and provocative documentary is also about a tragic kind of liberal guilt.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Obvious Child
    It’s a warm, sympathetic, very sloppy, and often very funny little movie about a young woman who, among several other things, is not remotely ready to be a parent and knows it.
    • 58 Metascore
    • 75 Critic Score
    Year of the Horse
    Jarmusch captures all this in Super 8 Hi Fi 8 video, which gives a gritty, dirty feeling. Maybe it's fake authentic, but it feels right. [24 Oct 1997, p.C8]
    • Boston Globe
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Suffragette
    The movie, which is both formulaic and powerful, dramatizes a paradigm shift that has been largely smoothed over by history (which is hardly the same as saying all the battles have been won).
  27. Falling from Grace
    It's not a perfect film. In fact, it's in many ways a messy film. But if it's disjointed, so are its characters' lives. And they're put onscreen with a veracity and an emotional authenticity that draw you into their tight little barnyard world. [17 Jul 1992, p.31]
    • Boston Globe
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Janis: Little Girl Blue
    I’d like to think of the singer watching this movie somewhere, nodding in thanks at what it gets right and howling with laughter at what it misses.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    A State of Mind
    It's a quietly wrenching eye-opener.
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    Judy
    If you saw Judy Davis as Garland in the 2001 miniseries “Me and My Shadows,” you know that’s a performance to beat. Zellweger matches it in her own way, through hair and makeup but mostly by channeling a kind of terrified bravura that’s riveting to watch. This Judy knows she’s an icon, and she knows it does her no good, and it’s all she’s got.
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