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. Empire of the Sun
    Empire of the Sun is an imperfect film, but at its best it's grand and haunting in ways that only a movie can be. [11 Dec 1987]
    • Boston Globe
    • 62 Metascore
    • 50 Reviewed by
      Ty Burr
    I Sell the Dead
    A sweet, splattery bit of in-jokery; if it’s not actually a good movie, on some level you have to admire the chutzpah of a film set in 1850s Ireland but shot on Staten Island.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Micmacs
    Micmacs is the equivalent of a circus troupe setting up a tent in a war zone: You're entertained, even delighted, but after a while you suspect there are more serious matters at hand.
  4. Loving Highsmith
    Eva Vitija’s documentary is lean and lucid and even at 84 minutes never feels hurried.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    Incident at Loch Ness
    Once the cat is out of the bag, "Incident" becomes simultaneously entertaining and disappointing.
  6. The Mafia Only Kills in Summer
    It’s an awkward balancing act. The result is more Benigni than Bertolucci, and though Diliberto achieves moments of poignancy and touches on insightful psychological truths, it doesn’t look like he’ll be winning any Oscars soon.
  7. Labyrinth of Lies
    Underneath its mea culpas lies a subtext that exonerates the post-Third Reich generations of its past.
  8. A Man of No Importance
    Albert Finney's name on a cast list is a guarantee of pleasure, and there's much to savor besides in Suri Krishnamma's A Man of No Importance. [03 Feb 1995]
    • Boston Globe
  9. Centurion
    The profanity is delightful. And the general atmosphere is grim. The movie just isn't terribly inspired.
  10. Deli Man
    In balancing the more objective cultural history of delis with a personal profile, Anjou serves neither well. Perhaps he should have chosen one course or the other.
  11. The Help
    The movie is too pious for farce and too eager to please to comment persuasively on the racial horrors of the Deep South at that time.
  12. William Kunstler: Disturbing the Universe
    This engrossing and provocative documentary is also about a tragic kind of liberal guilt.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    Girls Rock!
    How are girls supposed to behave in a culture that tells them they're Disney princesses for the first 12 years and sex toys after that? Girls Rock! has one answer: Strap on a Fender and rage against the machine.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    Loggerheads
    Slow, unadorned, compassionate, and earnest, Loggerheads is a low-fi throwback to the independent films of the 1980s and '90s.
  15. Annabelle: Creation
    If some light deja vu is the price horror fans must pay for a mainstream offering this spine-tingling, most will still come away feeling spooked and satisfied.
    • 62 Metascore
    • 50 Reviewed by
      Ty Burr
    Stuck on You
    Story lines don't come any clammier.
  17. Daddio
    A talky movie like this one succeeds only if its leads have chemistry and understand their characters. Both actors fit the bill, giving committed performances that elevate the material.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    The Names of Love
    Leclerc and company manage to raise serious points and deliver intelligent laughs at the same time, which is no small feat.
    • 62 Metascore
    • 75 Critic Score
    Dark Star: HR Giger's World
    The film captures both the claustrophobic and melancholic mood of Giger’s house, and also, perhaps, his mind.
  20. Bug
    Engrossingly manic version of Tracy Letts's great stage play.
  21. Dream Lover
    Kazan's dislocating strategies carry Dream Lover past a few stumblings and credibility lapses, ushering us into Ray's debilitating alienation, imprisoning us with Spader in Ray's projection of his fantasies onto a woman he realizes he knows nothing about. "Dream Lover" is a thriller that demonizes women more cleverly and slickly than most. [20 May 1994, p.52]
    • Boston Globe
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    The First Beautiful Thing
    The First Beautiful Thing is the kind of movie - that escapes the sick room to cavort at carnivals and eat cotton candy until the inevitable relapse.
    • 62 Metascore
    • 88 Reviewed by
      Ty Burr
    The King
    A bracing, highly enjoyable mix of medieval intrigue and epic action.
  24. A Glitch in the Matrix
    Rodney Ascher directed Glitch. He’s best known for Room 237 (2012), an inspired look at several bizarre theories about Stanley Kubrick’s The Shining (1980). Glitch ups the ante on that documentary and then some. It looks at a bizarre theory about everything. The result is lively, playful, and busy — in a very good way.
  25. Destroyer
    Neither dense, distracting makeup nor confused, convoluted chronology can disguise the fact that Karyn Kusama’s Destroyer, scripted by Phil Hay and Matt Manfredi, is a mediocre mash-up of genre clichés.
  26. Mumford
    The performances are disarming and Mumford is the kind of comedy that grows on you if you give it a chance.
    • 62 Metascore
    • 88 Critic Score
    Train of Life
    Another phantasmagorical tale of life among the Nazis, is upon us. This one works much better.
  28. Unbreakable
    A film that begins with a train wreck and then, figuratively speaking, becomes one.
  29. Ararat
    The screenplay's intelligence begins to break down in Egoyan's formal choices. Ideas never elude Egoyan, but boy does Saroyan's epic look uncertain and cruddy.
  30. 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.
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