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. Comic-Con Episode IV: A Fan's Hope
    "I've seen the look on people's faces when I've brought them there," Whedon says of the convention. "It's the look I had on my face. 'My tribe, my tribe, I've found my tribe.' "
    • 64 Metascore
    • 50 Reviewed by
      Ty Burr
    The Way
    The Way is a good, cheap vacation. At times, you wonder if Estevez isn't creating a cracked therapeutic remake of "The Wizard of Oz.'' He's got the nerve and the heart, all right. I'm less sure about the brains.
    • 64 Metascore
    • 50 Reviewed by
      Ty Burr
    The Rover
    There’s a thin line between the iconic and the generic, and The Rover, a grim post-apocalyptic drama from down under, wanders back and forth across it in an adrenaline daze.
  4. Marie Antoinette
    As art, the movie is neither shallow nor profound, just inconsequential. Yet Coppola is too clever a filmmaker to dismiss the movie out of hand. If her film is mostly surface then she skims with style.
  5. Dr T and the Women
    A comedy of chaos, an ensemble comedy, with characters swirling around one another unaware, in their uniform desperation, of how funny they are.
    • Boston Globe
    • 64 Metascore
    • 63 Critic Score
    About Adam
    In a moralistic time, About Adam is something of an anomaly, as it airily sticks to its pro-naughtiness agenda.
    • Boston Globe
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Sky Captain and the World of Tomorrow
    No one has really been asking for a fusion of "Independence Day," Fritz Lang's "Metropolis," and an old Buck Rogers serial, but here it is anyway, and the only thing keeping it from greatness is a good story.
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Napoleon Dynamite
    An inspired dead-end stunt that keeps delivering snarky laughs far longer than it has any right to.
    • 64 Metascore
    • 88 Reviewed by
      Ty Burr
    Cold Weather
    This is a slacker detective story, emphasis on the slack, and if you can downshift into its loping rhythms, it's pretty wonderful.
    • 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).
  11. Guilty by Suspicion
    Winkler fills the screen with some first-rate actors doing first-rate work. It's a handsomely crafted film as well as an honorable one. But it's also, on the whole, dramatically flat. [15 Mar 1991, p.41]
    • Boston Globe
    • 64 Metascore
    • 50 Critic Score
    Coup de Chance
    The film’s closing is abrupt and maybe too tidy, but “Coup de Chance” is still a clever little thriller. It displays an admirable economy of storytelling, and its jazz-heavy soundtrack helps maintain a jaunty mood.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Interview
    One comes away from Interview exhausted and a little unclean, entertained by the acting equivalent of a pit bull fight but needing a hose-down. The movie confirms that in every relationship "there are winners and losers." True enough, but for the audience this one's a draw.
  14. Sunshine
    If their movie doesn't float your boat as a work of science-fiction, action, philosophy, heliocentrism, or staggering visual spectacle (although, it really should), then it certainly succeeds as a parable for cinematic ambition.
  15. Alien: Romulus
    Despite its overdependence on catering to fans, “Alien: Romulus” is the best “Alien” movie since Cameron’s first sequel.
  16. Frozen II
    With so much going on, it’s easy to overlook that the most profound and moving relationship in either film is the bond between Elsa and Anna. It’s the most human and least-calculated thing in “Frozen” or Frozen II. Their love is the ultimate special effect. Ice is nice. But sisterhood is what’s really powerful.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Mother and Child
    Mother and Child glows for a good 90 minutes before an increasing reliance on contrivance and coincidence makes the lamp flicker and then fizzle out.
  18. Examined Life
    Over the course of the film's 88-minutes, Taylor cuts away to what's happening around her subjects (the unexamined life, I suppose). Perhaps she's attempting to make connections the thinkers don't.
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    The Beautiful Country
    The filmmakers bank against their impulse toward melodrama and deliver a reconciliation that is heartbreakingly understated.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Disconnect
    Disconnect is far from a bad movie. It’s just better at melodrama than drama.
  21. Goat
    John Landis’s “Animal House” (1978) this is not.
  22. The Tic Code
    Reveals real feelings.
    • 64 Metascore
    • 50 Critic Score
    Frailty
    Murder should either be unsparingly real or kitschy like the ''Texas Chainsaw Massacre.'' This is neither.
  24. 8 Women
    Even if some of the references are inscrutable, a lot of 8 Women is a riot. Here and there Ozon finds the key to a level of farce that would have amused Bunuel himself.
  25. Joe the King
    Whaley's self-effacing but strongly etched and wrenchingly effective film.
  26. Herod's Law
    Incisive, highly entertaining political farce.
  27. Sleeping with Other People
    The movie grows easier to like in the later, straighter going, as it stops pushing so aggressively to be naughty and lets its characters try on some introspection.
  28. Soundtrack for a Revolution
    The music is the occasion, and it’s stirring. What linger, though, are the images — and the ideals and emotions they convey.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Wanted
    Preposterous, luridly entertaining.
  30. Wes Craven's New Nightmare
    Cleverly mixing shamelessness and panache, Wes Craven's New Nightmare is easily the most dazzlingly self-referential seventh installment in a horror series ever. [14 Oct 1994, p.60]
    • Boston Globe
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