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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    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    42
    The ambitious new biopic about Robinson, is better written and produced than those children’s books, but it isn’t any deeper, and that’s a disappointment.
  2. Disturbia
    "Rear Window" never comes up in the Disturbia press notes, which is probably just as well since it steals that movie's premise but none of Alfred Hitchcock's wit, finesse, or seduction.
  3. The Good House
    Thanks to its two leads, The Good House very much succeeds as character study. As narrative, it doesn’t fare anywhere near as well.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Beneath the Harvest Sky
    While the climax of Beneath the Harvest Sky is a jumble of crosscutting, thunderstorms, and an inconveniently collapsing house, the movie never loses the pulse of people and tragedies it knows too well.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    Piglet's Big Movie
    If you've got some very small fry on your hands and 75 minutes to kill, this is as bright, colorful, and fuzzy as you're going to get.
  6. Outside Providence
    It's much closer to a European film in sensibility than to one of Hollywood's factory products.
  7. Godzilla
    An uneven spectacle that can’t sustain its solid first-half character moments. But the movie can also flash a surprising, often clever sense of legacy, and is intermittently capable of thrilling us.
  8. Jesus Camp
    If we are in the midst of a culture war, as many people proclaim in Jesus Camp, then the left should be concerned. The right's Christian soldiers appear to be extremely well trained.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    Wristcutters: A Love Story
    Turns out to be a sweetly grim lark: a road film through Limbo. It takes the self-pity associated with ending one's life and uses it for the purposes of mordantly aware comic fantasy.
  10. Jacob's Ladder
    The strength of Jacob's Ladder is that we never know what the next scene will be. But that's also its weakness. We don't feel involved with the characters here. We just feel jerked around. Jacob's Ladder, finally, is bummer theater. [2 Nov 1990, p.73]
    • Boston Globe
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Cherry Blossoms
    It's a strained but heartfelt work of muted sentimentality, obvious in its symbolism but grounded in a sense of life's preciousness and brevity. Depending on your mood and indulgence, you may weep or you may be left out in the cold.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    Lord of War
    Lord of War is advocacy entertainment -- an act of mainstream provocation -- and, for the most part, it works unusually well.
  13. Prelude to a Kiss
    The film has mood and feeling, but it can't take the material that final mile into the inexplicable. [10 Jul 1992, p.35]
    • Boston Globe
  14. Bitter Moon
    Bitter Moon would be a camp classic if it weren't so dispiriting watching Roman Polanski cannibalize and then finally parody himself into narrative and artistic collapse. The film's big problem is that it's so totally devoid of the sexual energy it needs to traverse the gantlet of perversity through which Polanski sends it. [15 Apr 1994, p.94]
    • Boston Globe
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Kon-Tiki
    Kon-Tiki is stalwart and uplifting and there are passing moments of wonder.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Loving Vincent
    The results are visually dazzling. The movie as a whole is something less.
  17. Love, Brooklyn
    The romantic love triangle dramedy “Love, Brooklyn” is more than just a visual showcase for the favorite borough of the average New York City hipster. It’s also an unabashed devotional to the interior design of the Brooklyn brownstone.
  18. Young Woman and the Sea
    The film evokes all of the usual biopic tropes while painting a standard picture of an extraordinary hero.
    • 62 Metascore
    • 50 Reviewed by
      Ty Burr
    Begin Again
    Begin Again is pleasantly predictable if you’re in an undemanding mood. If you’re not, it’s unbearable, like hearing a treasured folk song given a Hot 97 makeover.
  20. The Dying Gaul
    The film builds into a lurid and suspenseful thriller.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Shopgirl
    Still manages to be a Steve Martin vanity project in ways that are fairly creepy.
  22. Catch a Fire
    In Catch a Fire Noyce has caught the holy spirit. The movie is a thriller that wants to lift you up.
  23. Saving Grace
    It's funny and charming most of the time, thanks to Brenda Blethyn.
  24. Ocean's Thirteen
    Breezy humor and a dazzling heist keep 'Ocean' franchise in the money.
  25. Made
    Amusing Made doesn't quite measure up to expectations.
  26. Southpaw
    There's an engagingly homegrown quality to much of the footage.
    • 62 Metascore
    • 63 Critic Score
    Cuba feliz
    Grittily beautiful film that looks, sounds, and feels more like an extended, open-ended poem than a traditionally structured story.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    The Duchess
    At a certain point, The Duchess stops attending to the topiary and becomes a women's melodrama instead.
  29. The Source Family
    More than just a footnote to a wayward period of cultural history, The Source Family portrays an American type, the transcendent charlatan, a latter-day Gatsby, not of material riches but of the soul.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    New Order
    The scariest aspect of New Order is that in 2021 it doesn’t feel far-fetched at all.
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