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. Green Zone
    Green Zone is somewhere between a blockbuster and a tract -- a traction movie. It whizzes and bangs and sizzles as it chases the truth like a dog off its leash.
  2. The Assassination of Richard Nixon
    Assassination reminds you that Penn can be very funny.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    King of California
    A flaky, tedious, intermittently likable fable about being crazy in a crazy world.
    • 63 Metascore
    • 50 Reviewed by
      Ty Burr
    Damsel
    Damsel, goofy, absurdist, and subversive, feels like a brave step in an uncertain direction.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    Harry Potter and the Chamber of Secrets
    Moves the franchise even closer to Indiana Jones territory, with bloodcurdling action scenes and a passel of climactic computer-generated slime beasties unparalleled in their potential ability to -- I'm quoting from both book and film here -- '' rip, tear, rend, kill. ''
  6. Master Gardener
    Master Gardener is the third film in writer-director Paul Schrader’s redemption trilogy. The series includes 2017′s “First Reformed,” which is good, and 2021′s “The Card Counter,” which is not. Unfortunately, the trilogy ends with its worst entry, an excruciatingly slow white-savior narrative that aims to provoke yet does nothing but bore.
  7. The 11th Hour
    The word bears repeating, so everyone from Andrew Weil to Stephen Hawking to Mikhail Gorbachev is here to speak the still-inconvenient truth. The filmmaking, however, is far more relentless than in that Oscar-winning Al Gore slide show.
  8. H Is for Hawk
    The flashbacks and overbearing music serve as this film’s emotional core, and the result rings false and superficial.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    William S. Burroughs: A Man Within
    A breezily stylized, very enjoyable trot through the writer's life, theme by theme, era by era.
  10. The River Wild
    The sterling and reliable Strathairn brings stoic dignity to the husband's role, young Mazzello takes advantage of the chance to show more here than he did in Jurassic Park and Curtis Hanson's direction is expeditious and unpretentious. But River Wild is a Streeporama, and Streep at the flood tide is something to see. [20 Sep 1994, p.61]
    • Boston Globe
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    Unsane
    A deft, disturbing piece of work, as cold around the heart as the Kubrick film, if infinitely more dismissible. It gets in, it messes with your mind, and it vanishes, leaving only an unsettling aftertaste of unresolved narrative. It’s an exercise, but some exercise leaves you gasping.
  12. Miss Pettigrew Lives for a Day
    It's polished-looking, yet dull.
  13. Undertow
    It's an exercise in 1970s mood. But all the film does is conjure, channel, and allude, until there's really no movie of Green's own for an audience to grab onto.
  14. The Jungle Book
    An efficient, good-looking production that amounts to the kind of safari with which Disney's customers will feel comfortable. [23 Dec 1994, p.53]
    • Boston Globe
  15. Single White Female
    Single White Female is a frustrating proposition. It has impact, given its two stars. But it spends a lot of time trying to get its footing, find its tone and rhythm. Surprisingly, Schroeder has trouble pacing a film any one of a dozen Hollywood hacks could have handled more sure-handedly. [14 Aug 1992, p.41]
    • Boston Globe
    • 63 Metascore
    • 88 Reviewed by
      Ty Burr
    Spring Breakers
    Korine wants to give us a portrait of our nation’s children — the girls, especially — as beautifully depraved sharks, pleasure-seeking killers oblivious to the comedy and horror of their existence. And damned if he doesn’t pull it off, or come close enough.
  17. The Cat's Meow
    Could have been -- and should have been -- richer and more resonant. It's Hollywood Babylon Lite, only TV movie-deep. But at least it's tangy.
  18. Happy Times
    Shares many things with ''Not One Less'' and ''The Road Home,'' among them a grass-roots sensibility that ultimately puts a premium on hope and simple kindnesses, while acknowledging the seductive power of money and superficial success.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Open Water
    Open Water is a stunt, one you either buy into or not.
  20. Rio
    Makes the surprising and seemingly inarguable assertion that, if we're not all Brazilian, then, at the very least, Brazil is a state of mind.
  21. The Great Buck Howard
    This is an old man's movie, without an old man's experience. Despite McGinly's stated affection for Kreskin (the movie ends with a written appreciation of him), there's nothing personal about it. It's the movie equivalent of handing us a business card.
  22. Triangle of Sadness
    Precise, expert execution can’t compensate for forced situations and an unenforced imaginative rigor. It’s not so much that all the characters are so unsympathetic. It’s that they’re all so uninteresting. Caricature without gusto is shrink wrap covering . . . shrink wrap.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Revenge of the Electric Car
    The follow-up, Revenge of the Electric Car, arrives today and it's a lesser animal, more hopeful but also more complex and lacking the focused urgency of the original.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    Let Him Go
    Mostly Let Him Go is about what would happen if “Death Wish” were cast with the couple from “American Gothic.”
  25. Eden
    Eden is "Once" after two kids and 10 years of marriage have sucked the music out of life.
  26. Things We Lost in the Fire
    Were there such a thing as a low-carb melodrama, Things We Lost in the Fire would be it - all the tears, half the guilt.
  27. City of Men
    The movie has a dramatic thinness, breezy tone, and unconvincing happy-ish ending that make it feel more inconsequential than anything about killers and imperiled children probably should.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    World War Z
    World War Z is epically realized entertainment that feeds on our fears of apocalypse, but it’s just fast enough and smart enough — and, more importantly, human enough — to keep an audience on edge from start to finish.
  29. Maria
    As the plot swings haphazardly between drug-induced hallucinations and reality, we lose trust in what we are seeing.
  30. Hello, My Name Is Doris
    Field next tries to touch our hearts with her pitifulness. Stay away, crazy woman! At times she seems about to turn into Glenn Close in “Fatal Attraction.”
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