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. Blue Beetle
    Blue Beetle is a watchable time-waster made better by the actors and the cinematography by Pawel Pogorzelski.
  2. Unlawful Entry
    The script is too eager to rush to the high-concept payoff without providing dramatic or characterizational underpinning. [26 June 1992, p.34]
    • Boston Globe
  3. Metallica: Through the Never
    The guys in Metallica are here to remind us that there’s a band behind the rage rock. The IMAX 3-D release Metallica Through the Never is all about reasserting their relevance, loudly.
  4. Est - Ouest
    Isn't always easy to sit through, but it repays patience. It's an honorable film, and it earns its undertow of poignancy derived from.
    • Boston Globe
    • 61 Metascore
    • 75 Critic Score
    My Dog Skip
    The film's vintage setting is as much a character as any other. Some of the best moments evoke the best parts of easygoing small town life in a bygone era.
  6. Enduring Love
    Technically outstanding and the performances are strong.
    • 61 Metascore
    • 88 Reviewed by
      Ty Burr
    Carnage
    The film's an even four-hander, with awful behavior spread evenly among the characters and spellbinding performances by the quartet of co-leads.
  8. The New Age
    The New Age plays like "Night of the Living Dead," only with better clothes. [23 Sept 1994, p.52]
    • Boston Globe
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    Trance
    With Trance, story becomes just another element in Boyle’s commercial pop-Cubism, and the results are nearly fatal.
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    Lust, Caution
    Lust, Caution is a disappointment coming from director Ang Lee, but it's a watchable one, and it rattles around in your head for a long time after you've seen it, as much for what it does right as for where it goes wrong.
  11. Transformers
    Partly impressive, partly inane buck-banging toy of a movie.
  12. Dr. Bronner's Magic Soapbox
    Alternately shows the elder Bronner as lovable and nutty, sinister and terrifying, victim and victimizer. Ultimately, those disparate elements never coalesce.
    • 61 Metascore
    • 50 Critic Score
    Lower City
    Everyone involved in the film seems better than the material.
  14. Faraway, So Close!
    To get right to it, Wim Wenders' Faraway, So Close isn't anywhere near as sublime and magical as his "Wings of Desire." In fact, his new film about angels is sort of a mess, collapsing under the weight of too much plot and too little poetry. That being said, I hasten to add that it's my kind of mess. [28 Jan 1994, p.47]
    • Boston Globe
  15. The Best Man
    Breathes fresh life into old formulas.
  16. The Comfort of Strangers
    The Comfort of Strangers seldom makes sense, and the bizarre behavior often seems arbitrarily trowled on from the outside as opposed to something bubbling up from within. The best that can be said for it is that its maze-like ways at times intriguingly replicate the mazelike streets of Venice [12 Apr 1991, p.82]
    • Boston Globe
  17. Dogville
    Despite its ultimate nuttiness, has a quiet, consuming power that sneaks up on you and doesn't go away. This is something new and ambitious for Von Trier: a work of compassion.
  18. Scream VI
    The scariest thing about Scream VI isn’t seeing someone get knifed in the face 600 times; it’s this movie’s absurdly inaccurate depiction of New York City.
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    At Any Price
    Bahrani is brilliant at small gestures and the way they can speak volumes, but in At Any Price he’s aiming for grand tragedy, and he doesn’t yet have the knack. The pacing of the final act is uncertain; the epic sweep doesn’t arrive.
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    The War Within
    Hampered by a mopey leading man.
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    The Bourne Legacy
    The best thing that can be said about The Bourne Legacy is that Renner will survive it.
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    Elysium
    It’s a letdown, but this director’s still a talent to be reckoned with.
  23. Boynton Beach Club
    Cannon actually is funny -- not to mention funny-looking. Plastic surgery has left her physically absurd, like a vaguely glamorous R. Crumb cartoon.
  24. The Lair of the White Worm
    The film belongs to Donohue's cool, toothy slinker, who sports instant fangs when she lures a pimply student into her bath and later shimmies deadpan out of an art nouveau urn when the snake-charming record starts its amplified grooving. [11 Nov 1988, p.61]
    • Boston Globe
  25. Sixteen Candles
    Screenwriter John Hughes, making his directing debut, is at his best when he empathizes with the sensitivity in the ugly-duckling Ringwald and Hall characters. [04 May 1984]
    • Boston Globe
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    The Machinist
    The main, if not only, reason to see The Machinist is for Christian Bale's title performance, and even then you have to be a fan of hardcore martyrdom in the service of craft.
  27. The Wolverine
    Jackman spends enough time compellingly playing stranger in a strange land that you’ll put up with a few unwanted doses of the old familiar.
  28. Sicario: Day of the Soldado
    Murky, clunky, but sometimes nihilistically exhilarating.
    • 61 Metascore
    • 75 Reviewed by
      Ty Burr
    The Karate Kid
    The one thing that should have been changed but hasn’t is the title, which makes no sense at all in a movie about kung fu.
  30. Saltburn
    It’s a movie full of grotesques behaving more or less grotesquely. There’s a school of thought that thinks unpleasantness in a movie qualifies as moral candor and high seriousness. Executed well enough and conceived imaginatively enough, it can be. Here it’s simply unpleasantness.
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