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. Twisters
    Though “Twisters” lives up to the sequel maxim of being louder, larger, and busier, director Lee Isaac Chung (“Minari”) and screenwriter Mark L. Smith don’t deviate from the first film’s formula. Watching the sequel is like playing Mad Libs with the original’s plot.
  2. Strange World
    Clearly, Strange World is a movie about saving the environment. It is also about the bond between father and son, and how parents must let their kids forge their own paths. Hall and Nguyen deliver these messages with the subtlety of a wrecking ball, but the excellent voice-over work plus the score by Henry Jackman make the preachiness palatable and the film fun.
    • 65 Metascore
    • 50 Reviewed by
      Ty Burr
    Dan in Real Life
    There's a great movie to be had in the notion of a busybody whose advice keeps blowing up in his face, but Dan in Real Life merely sets it up and walks away.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    Get Him to the Greek
    If the movie’s all too predictable in its broad outlines, it’s scurrilously funny in the details, and it pushes its two leads and one of its supporting actors in entertainingly fresh directions.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    The Powerpuff Girls
    Forgoes that split-level wit to concentrate on mere rock 'em sock 'em mayhem.
    • 65 Metascore
    • 50 Reviewed by
      Ty Burr
    The Art of Self-Defense
    Casey is possibly on the spectrum, but one of the problems with The Art of Self-Defense is that all the other characters seem to be, too.
  7. Saving Face
    Actually the problem with Saving Face as a romantic comedy is that its central romance is a drag.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    Cadillac Records
    It's a hell of a story, and Cadillac Records wants to tell it so badly that it threatens to warp the narrative out of recognition.
  9. Ali
    Ali, in short, is far from a seamless success, but it does get the big things right and it respects a subject who commands respect.
    • Boston Globe
  10. Twelve and Holding
    Cuesta prizes curiosity and perception over conflict resolution. He likes the way kids take their cues from adults and the ways they revolt against them. Even as the kids do the ugliest things, the film stays cool without ever being cold.
  11. Samsara
    The result is like an issue of National Geographic gone mad.
  12. Troublemakers: The Story of Land Art
    Crump has directed Troublemakers with assurance and energy. Perhaps too much so.
  13. Drop
    The absurd plot twists in “Drop,” might be tolerable if the film weren’t so distastefully tethered to domestic violence.
  14. The Good Nurse
    The Good Nurse is at its best as a medical police procedural. It helps that Noah Emmerich and Nnamdi Asomugha, playing the cops, give solid, understated performances.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    Clerks II
    With Clerks II, the director retreats to home turf, but is Smith playing it safe or is he really interested in seeing how the old nabe has changed? Bit of both, actually.
  16. Tetro
    A family melodrama with charm.
    • 65 Metascore
    • 75 Reviewed by
      Ty Burr
    Unknown White Male
    The Unknown White Male that Murray has made asks profound questions. They're just not necessarily the right ones.
  18. Coco Before Chanel
    I could have watched this woman rip a piece fabric and turn it into a dress all day. I haven’t seen a lot of that. I have seen movies about a woman caught between two men, as Chanel is here.
  19. Find Me Guilty
    The best I can say about his (Diesel)performance is that it's charmingly terrible.
  20. Telling Lies in America
    It's a surprisingly sweet underdog immigrant coming-of-age story set in 1961. [24 Oct 1997]
    • Boston Globe
  21. Eddington
    For all that “Eddington” variously concerns itself with politics and conspiracy theories and violence and the Western landscape, what it’s really about is social media.
  22. A Letter to Momo
    Though it touches on the usual themes of youthful innocence and imagination challenged by misfortune, and on occasion achieves moments of supremely subtle, sublimely exquisite detail, “Momo” strains when it comes to evoking whimsy and magic.
    • 65 Metascore
    • 75 Reviewed by
      Ty Burr
    Walk on Water
    There’s something happening here and it isn’t exactly clear. What is clear is that Eytan Fox may yet make a great film for the 21st century.
    • 65 Metascore
    • 75 Reviewed by
      Ty Burr
    Tyrannosaur
    The movie is cruelly frank about the ways damage cascades down to the powerless, but while it's not for the fainthearted (or for animal lovers), rewards are there.
    • 65 Metascore
    • 75 Reviewed by
      Ty Burr
    Grazia's Island
    If you prefer your domestic clashes sunnier and more strenuously poetic, Respiro may be your respite. If nothing else, it's a reminder of how severely underutilized Valeria Golino is as both actress and cinematic glory.
    • 65 Metascore
    • 50 Reviewed by
      Ty Burr
    Sex and Lucia
    Isn't a first-date movie. As a third -date movie, though, it's just about perfect.
  27. Sleepy Hollow
    A gorgeous screenful of period eye candy.
  28. Darkman
    The film works because Raimi's motor-rhythmed pop sensibility was ready to take off in this movie, and does, in a series of wonderfully hyperkinetic comic-strip lurches. [24 Aug. 1990, p.34]
    • Boston Globe
  29. Vincent & Theo
    Vincent and Theo is one of the great Robert Altman films... It's Altman's most structurally conventional film, although it's filled with such trademarks as overlapping conversations. It's also his most personal and deeply felt. [16 Nov 1990, p.81]
    • Boston Globe
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    Oliver Twist
    The result is an expertly made, very watchable film that's curiously lacking in impact. By Polanski standards that has to be a disappointment.
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