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. Street Kings
    Street Kings is nonsense, and yet the crooked, racialized world underneath the soulless mayhem is pretty fascinating.
    • 49 Metascore
    • 63 Reviewed by
      Ty Burr
    Sex Drive
    Three things and three things only keep Sex Drive from being teen-comedy landfill. The first is James Marsden, hilarious as the hero's bully-boy big brother. The second is Seth Green, beyond droll as an Amishman with attitude. The third is the Mexican doughnut costume.
  3. Beautiful People
    It's a spirited and essentially optimistic film, but it's also simplistic.
    • Boston Globe
    • 58 Metascore
    • 63 Reviewed by
      Ty Burr
    Jojo Rabbit
    There’s no question this exuberantly directed coming-of-age tale — a peppy slapstick drama, if you can get your brain around that — is a sight to see. Whether you want to see it is something you may not be able to decide until halfway through.
  5. Al Franken: God Spoke
    Neither a profile nor a critique, though, the film's only focus is its subject's mild self-regard.
  6. Ready to Rumble
    Likable performances from its young cast and a better-than-average script add spark to this formulaic fairy tale and make the wrestling mania watchable.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    Nocturnal Animals
    I don’t mean it as a cheap shot, but Nocturnal Animals is very like an exquisitely rendered window display. It’s something at which you pause and peer into and catch your breath — and then move on.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Open Water
    Open Water is a stunt, one you either buy into or not.
    • 68 Metascore
    • 63 Reviewed by
      Ty Burr
    The Nightmare
    Less a straight doc than a psycho-cinematic inquiry into unknown territory, it’s really something to see. Whether it’s something to believe is another matter.
    • 43 Metascore
    • 63 Reviewed by
      Ty Burr
    The Keeper: The Legend of Omar Khayyam
    A vanity film refreshingly lacking in vanity.
  11. Crazy Rich Asians
    Maybe the key is how nicely self-aware the move is. On the soundtrack, for example, we hear both “Material Girl” and “Money (That’s What I Want)” sung in Mandarin. Everything’s so over the top it’s a bit weightless, which in this context is a compliment.
  12. Still Mine
    Though admirable in ambition, McGowan’s decision to broaden his simple story’s scope diminishes an affecting melodrama about the increasingly common, insufficiently acknowledged plagues of dementia and Alzheimer’s disease.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Lunacy
    At nearly two hours Lunacy becomes repetitive, at first ingeniously and then with a slowly dulling edge. The meat parade ceases to shock.
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    Miss Julie
    It’s a handsomely mounted, intentionally claustrophobic film; too claustrophobic over the long haul, with relentless close-ups that constrict the galvanic emotions on display.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    Married Life
    Albeit slumming with style and a fairly sharp scalpel. Married Life delights in peeling back the bright postwar social veneer to expose the characters' hidden agendas, and if this is a mystery movie, the mystery is other people.
  16. Bran Nue Dae
    The songs are catchy. The lip-synching, meanwhile, is always a little off, and the dancing is usually average at best.
    • 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.
    • 72 Metascore
    • 63 Critic Score
    Lake Tahoe
    In the end, the sparse dialogue and lengthy scenes make the film feel as leaden and listless as Juan's sputtering engine.
    • 43 Metascore
    • 63 Reviewed by
      Ty Burr
    Dark Phoenix
    For a series supposedly dedicated to the pleasure of superhero movies, Dark Phoenix somehow ends up illustrating their limits.
    • 73 Metascore
    • 63 Reviewed by
      Ty Burr
    Results
    What happens when a rigorously non-mainstream filmmaker tries to reverse-engineer a mainstream romantic comedy? The result, in all its charming perversity, is Results.
  21. Armadillo
    Metz is another artist more interested in war's side effects than combat itself, although he and his crew are embedded for battle.
  22. The Look of Love
    Although Raymond’s career extended over five decades of London sleaze, decadence, and celebrity, neither director nor actor provide much insight into the man or his times, not to mention the significance of Raymond’s prime product.
  23. I Now Pronounce You Chuck & Larry
    Broad and badly made but sporadically inspired, "Chuck and Larry" is still an amazing improvement over "License to Wed," this month's other wedding comedy.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    My Week with Marilyn
    The point of "My Week'' appears to be that Colin is the one person in Monroe's life who isn't using her, but if squeezing two books and a movie out of one brief encounter isn't exploitation, I don't know what is.
    • 44 Metascore
    • 63 Reviewed by
      Ty Burr
    Delivery Man
    Delivery Man is predictable but likable, schmaltzy but sweet.
    • 73 Metascore
    • 63 Reviewed by
      Ty Burr
    Cold in July
    You may be put in mind of HBO’s recent “True Detective” — the low-down Southern locations, the time period (here the mid-1980s), some truly horrible crimes, a general air of diseased moralism — but Cold in July, while stylishly done, isn’t close to that good.
  27. The Peanut Butter Falcon
    For all of its engaging performances, this thoughtful yarn from the filmmaking tandem of Tyler Nilson and Michael Schwartz is limited by a quaintly straightforward story line. Every choice the characters opt for, every bit of self-discovery they make, is as scripted as a rasslin’ baddie’s folding-chair cheap shot.
  28. Birthday Girl
    This bizarre, uneven comedy is notable mostly for the unsettling presence of Nicole Kidman in full, kinky, sex-kitten mode.
  29. The Last Mountain
    The Last Mountain is that sort of movie, the sort that sends a Kennedy into the West Virginia wilderness to press for change. It's sincere. It's misguided. It feels like a stunt.
    • 60 Metascore
    • 63 Reviewed by
      Ty Burr
    Rules Don't Apply
    This is not a well-made film but it is an enjoyable one, in part because it’s genuinely unpredictable and in part because it’s a pleasure to see one of the great stars of his era on a movie screen once more.
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