Boston Globe's Scores

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:
7950 movie reviews
  1. Crashes the slapstick of "Home Alone" into the youthful angst of "The Breakfast Club."
  2. Cool It arrives having been labeled the anti-"An Inconvenient Truth." It is. But not in the philistinistic way you'd expect.
    • 52 Metascore
    • 63 Reviewed by
      Ty Burr
    An inspirational sports movie, soccer subdivision, and it stops at every expected station of the cross on its road to the triumphant against-all-odds finale (in sudden-death overtime, yet). Yet it also feels appealingly handmade in a way most jock dramas don't.
    • 50 Metascore
    • 63 Critic Score
    For much of its length, the film is plausible, if predictable and ponderous. Its strongest assets are its actors.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Depressingly, and in keeping with the stringent rules of bad-boy shock-comedies, all the women here are bimbos, shrews, and slutburgers except for one cool chick -- Cusack’s love interest, played by Lizzy Caplan -- who acts like a guy.
    • 35 Metascore
    • 63 Reviewed by
      Ty Burr
    Isn't for the kiddies. It probably isn't for anyone not interested in the darkest corners of the human psyche.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    What's missing here is the one thing any duffer knows you need: Focus. The Greatest Game Ever Played works so hard to convince you of the truth of its title that it never settles down to address the ball.
  3. Zooey Deschanel shows off her singing on a couple of generically pleasant soundtrack ditties.
  4. A minor movie on a major subject, a drama with an almost unbearable lightness.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    It overuses ’80s nostalgia as shorthand for genuine emotional involvement, and it presents us with a rapturous digital wonderworld only to sternly lecture us that reality is the better value.
    • 52 Metascore
    • 63 Reviewed by
      Ty Burr
    The director is Lee Daniels, of Precious (2009) and The Butler (2013), here evoking the historical era and its figures with verve and intelligence but unable to find a dramatic center other than his electrifying star.
  5. Manages to be both compelling and unsatisfying. But what limits it isn't lack of execution. The movie is many things, but a mess isn't one of them. Estes knows exactly what he wants. Whether it's worth wanting is another matter.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    More predictable than it ought to be - you can set your watch by the appearance of the mournful Nick Drake song on the soundtrack.
  6. There's the air of sadness and worry all over this movie, and sometimes it's heavy. But it's air all the same.
  7. Over the course of the film's 88-minutes, Taylor cuts away to what's happening around her subjects (the unexamined life, I suppose). Perhaps she's attempting to make connections the thinkers don't.
  8. In tone and plotting, Away We Go feels like a fairy tale built on an aggravating collection of attitudes. It's condescending, judgmental, righteous, yet sincerely searching.
    • 35 Metascore
    • 63 Reviewed by
      Ty Burr
    A watchable, unnecessary re-do that works hard but lacks the charm to really zing.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    The performances are worth a look, especially since Christopher Walken so rarely gets to play a sane person.
    • 55 Metascore
    • 63 Critic Score
    The movie’s weaknesses include the overuse of grainy flashbacks of Craven’s daughter as a child, and the conversations he has with her after she is gone. Both are tremendously moving ideas but eventually succumb to bathos from repetition.
  9. This is what the ongoing onslaught of comic book movies lacks: stars. Real stars. Robert Downey Jr. is the exception when he should be the rule. It's possible we take these movies for granted because the marketing tells us we should.
  10. As a movie, it’s a mess — and lazy, too.
  11. For his part, Short, another pop choreographer, sounds like Vin Diesel, but he moves like a bee. When he dances, he makes sure every girl in the theater goes home stung.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Out of the Furnace could have been a starkly powerful human drama or a cheesy, vibrant action film. It splits the difference and ends up playing like a lesser Springsteen song.
  12. Has everything you want in a supernatural thriller except thrills.
    • Boston Globe
    • 79 Metascore
    • 63 Reviewed by
      Ty Burr
    It's an honorable attempt, but there's still no genuine need for this film to exist.
  13. There's not only physics between them, but chemistry. I.Q. may be slight, but it's a civilized delight. [23 Dec 1994, p.45]
    • Boston Globe
  14. This isn't a case of a liberal-minded movie inflicting goodness upon a character but a man radiating goodness because, well, he is good.
  15. Playing the character with this much girlish innocence is risky. Barrymore can seem dumb, but as Lucky You unfolds, we realize that the character is just a device to bring viewers into the parallel universe of poker.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    An overly constructed little thriller that squeezes a fair amount of suspense out of its far-fetched plot.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    Daniel Anker's Music From the Inside Out is so intent on divining the mysteries behind the creative act that it comes up frustratingly short on specifics.

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