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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    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Intermission
    Could fairly be described as a Robert Altman ensemble movie without the flab, or "Magnolia" with a mean streak and bigger laughs.
  2. Team America: World Police
    Stuck between point-blank ridicule and the obligations of a weary plot. Surprisingly, more than an hour of watching marionettes fight, curse, and fornicate turns out to be as dull as watching Michael Dudikoff do the same thing in one of his unremarkable soldier movies.
  3. Chinese Puzzle
    Puzzle is neither puzzling nor much fun. It reminds you how much better Julie Delpy told the same story in “2 Days in New York.”
  4. Napoleon
    Fierce and chaotic, the re-creations of war also fall short — the CGI in many scenes is shockingly bad. Whenever the movie threatens to become too dull, there’s a battle sequence. They start to blur together as the minutes slowly tick by.
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    You Kill Me
    It's a predictable but acridly pleasant 12-step bonbon: self-help noir.
    • 64 Metascore
    • 88 Reviewed by
      Ty Burr
    Killing Them Softly
    A bleakly comic, brutally Darwinian gangland saga that at times comes close to being this year's "Drive." It also does something that, if you're from around these parts, seems downright perverse. It takes the Boston out of George V. Higgins.
    • 64 Metascore
    • 50 Reviewed by
      Ty Burr
    Downsizing
    The film’s ultimate message — help other people, basically — is, while useful and necessary, dramatically rather slack, and you notice with a shock that the film’s central conceit has almost entirely dropped off the table by the final third. Payne’s microcosm is so like our macrocosm that after a while he simply forgets to make the distinction.
    • 64 Metascore
    • 38 Critic Score
    Barb & Star Go to Vista Del Mar
    For all its sugary sweet coating, this movie is nothing more than mindless, mundane distraction.
  9. Brideshead Revisited
    The film plays fast and loose with the book, until its emotional depths, spiritual conflicts, and Waugh's discreet humor have been wrung out.
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Fifty-Fifty
    True to its title, Schizo is both gripped by the past and pulled toward an unknown future.
  11. Comedy of Power
    This movie can't commit to a genre, let alone a logical sequence or complete idea. But there is a wisdom in its blasé assessments and frivolous air: What's the point; where's the wine?
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Cloverfield
    Cloverfield is content to be a creature feature; that's what makes it bearable and what keeps it from greatness. The genre, not the script, does the psychological heavy lifting.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Miles Ahead
    It’s all deeply felt and just as deeply unfocused, and that, more than the invented story line, betrays the movie’s subject.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Fury
    Ayer, who has dealt with charismatic bad boys before — he wrote the script for “Training Day” and directed the sharp police drama “End of Watch” — makes the paternal “Wardaddy” into a figure both monstrous and upstanding.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Tamara Drewe
    A frolic that keeps tripping over its own gorgeous feet.
  16. Nadja
    Putting a provocative spin on the body-fluids subtext, Lowensohn projects stony melancholy and a convincing capacity for romantic impulse as well, making Nadja a surprising little black orchid of a vampire movie. [29 Sept 1995, p.50]
    • Boston Globe
  17. The Cotton Club Encore
    The Cotton Club does look terrific and has its moments. It’s certainly not an embarrassment. It’s just not . . . very good.
  18. Following Sean
    If ''Sean" was about conviction and revolution, Following Sean is about ambivalence and resignation. In either case it's pretty easy for a funny-provocative kid to stand out.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    The Young Victoria
    It’s a muddled but plush experience overall, and if you’re a royalist completist or a historical romantic, you’ll probably have a decent time.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    The Road
    Everything about the film is a welcome rebuke to the happy-face apocalypse of “2012,’’ a movie that turns mass extinction into the Greatest Show on Earth. In The Road, what has been lost is recognized as infinitely precious; what’s left is bitter and our due.
    • 64 Metascore
    • 75 Critic Score
    Surf's Up
    The most colorful of the penguin 'toons to date, both figuratively and literally.
  22. Miss Sloane
    It answers most questions by the end, except the most important one: Is the devil in Miss Sloane, or is Miss Sloane the devil?
  23. The Luzhin Defence
    Watson's character grows in importance until she eclipses the recessive Luzhin.
    • Boston Globe
  24. The Princess and the Warrior
    Nowhere near as dynamic as the title implies. It's hard not to think of it as ''Sleepwalk Lola Sleepwalk.''
    • Boston Globe
  25. AKA
    The triptych is a device but never a gimmick: three windows into one fractured soul.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    The Dancer Upstairs
    Far from perfect but completely unique, the film could best be described as a paranoid South American metaphysical political thriller -- you heard me -- and whatever its failures, they're not ones of nerve or imagination.
  27. Hieronymus Bosch, Touched by the Devil
    Of course what’s most interesting of all is the art. Huystee’s many closeups and slow pans over Bosch’s teeming backgrounds are transfixing, unsettling, and a rare privilege.
  28. Inside Deep Throat
    It's an unfocused overview that intersperses choppy interviews and observations with clips from "Deep Throat," including some of its most notorious and explicit scenes.
  29. Coming Through The Rye
    Ironically, the phoniness that iconic teen romantic Holden Caulfield despised pervades Jim Sadwith’s Coming through the Rye, a semi-autobiographical tale of hero worship and literary integrity.
  30. The Road to Guantanamo
    The film's insistence on the men's innocence is matter of fact. But it's also an urgent corrective to the suspicious eye the movies so often cast on Arabs and Islam.
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