Boston Globe's Scores

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For 7,945 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 0.9 points 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: 5,227 out of 7945
  2. Mixed: 1,553 out of 7945
  3. Negative: 1,165 out of 7945
7945 movie reviews
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  1. She Said
    She Said is successful where it matters most: It shows just how easy it is for predatory men in power to be kept there by an equally corrupt system of people who either look the other way or protect them.
  2. Guillermo Del Toro’s Pinocchio
    GdTP starts out pretty slow and doesn’t speed up for far too long — it’s the rare movie that might accurately be described as more imaginative than good — but the occasional bit of inspiration like the tree-branch proboscis encourages the viewer to hang on. It’s a nose job like no other.
  3. Is That Black Enough for You?!?
    Black Enough is smart, lively, and sprawling.
  4. Black Panther: Wakanda Forever
    Coogler and his returning company of actors and behind-the-camera craftspeople work overtime to achieve a balance of quiet empathy with the big thrills audiences have come to see.
  5. Causeway
    Any metaphoric meaning is left up to the viewer, who will be too busy basking in the fine performances to give it much thought.
  6. Enola Holmes 2
    Enola doesn’t just break the fourth wall. She tickles it, winks at it, and tugs at its sleeve. With another actress, this would be annoying. With Brown, it’s charming.
  7. Armageddon Time
    The self-congratulatory, back-patting nature of this film is what makes it so insulting.
  8. Louis Armstrong's Black & Blues
    Jenkins has given the documentary a structure that’s largely chronological but primarily thematic. The shifting around makes for a nice flow. The film moves along crisply without ever feeling hectic or rushed.
  9. Wendell & Wild
    Fans of “Key & Peele” will love their latest duet. Much of their dialogue sounds improvised, and the pair work off each other like the pros they are.
  10. Aftersun
    Lemmons’s film is an exercise in memory disguised as Southern gothic.
  11. The Banshees of Inisherin
    Banshees is like a short story trying to be a novel. The extra pages get filled with the postcard views. There are bits of wit — again, this is Martin McDonagh we’re talking about — but overall “Banshees” is lugubrious and slow.
  12. The Good Nurse
    The Good Nurse is at its best as a medical police procedural. It helps that Noah Emmerich and Nnamdi Asomugha, playing the cops, give solid, understated performances.
  13. Raymond & Ray
    This one has a tang and texture and rare sense of everyday epiphany. Just when you think you’ve got it figured out, you find out you’ve figured wrong.
  14. Till
    Till avoids all flash. That makes it a bit didactic at times, but didacticism is a form of commitment: not so much political, though there’s certainly that, but also to emotional truth and simple human decency.
  15. Black Adam
    All kinds of stuff happens. Much of it is loud, confusing, and badly paced. From a superhero-movie perspective, it’s the last one of those three that’s most problematic. Leaden and flaccid are a bad combination.
  16. Ticket to Paradise
    Ticket is automatic-pilot smooth and formulaic familiar. It’s a romantic comedy, yes, and a star vehicle. But the category it most belongs to is airline movie — as in, a pleasure to watch in flight but less so on the ground.
  17. Decision to Leave
    Decision has real velocity without in any way feeling hectic or rushed.
  18. The School for Good and Evil
    School is endlessly talky, with dialogue that has the consistency of melted licorice (red or black, your choice). The one thing to be said for Theodore Shapiro’s muscularly egregious score is that the music makes it marginally easier to miss what the characters are saying.
  19. TÁR
    TÁR is ambitious, unusual, forceful, and ultimately frustrating, an emotional epic that’s also a nose-against-the-glass view of classical music and unconventional take on the #MeToo movement in that world.
  20. Stars at Noon
    Stars at Noon trades too much on a tradition of older, maybe not better but certainly more urgent movies. Somewhere deep, deep in its heart is the memory of Jane Greer and Robert Mitchum.
  21. 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.
  22. Amsterdam
    It’s been seven years since the writer-director David O. Russell’s last movie. At its frequent best, “Amsterdam” makes it worth the wait.
  23. Bros
    The comedy is largely episodic and breezy, bolstered by strong support from Debra Messing, Amanda Bearse, Bowen Yang, Jim Rash, Kenan Thompson, Amy Schumer, and Kristin Chenoweth.
  24. The Greatest Beer Run Ever
    Perhaps the biggest problem with Beer Run is tonal haphazardness. Sometimes it’s meant to be funny — other times serious — other times even solemn. (Alternate title: “Chickie Learns About the Horrors of War.”) The few jokes that are clearly intentional tend to fall flat.
  25. 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.
  26. Blonde
    A lot of skill and imagination went into making Blonde. It’s just that they’re misplaced. The movie has its own cracked integrity. That long runtime allows Dominik to give it a slow, inexorable rhythm. Everything has a slightly underwater quality. Stardom here has more to do with miasma than glamour.
  27. Catherine Called Birdy
    Ramsey is close to a force of nature, equally skilled at conveying Birdy’s curiosity, humor, orneriness, and not-infrequent bewilderment. In other words, she’s a 14-year-old.
  28. Sidney
    Combining as it does great admiration with an acknowledgment of flaws, “Sidney” is like Ethan Hawke’s recent HBO Max documentary about Joanne Woodward and Paul Newman, “The Last Movie Stars.”
  29. Don't Worry Darling
    Darling never quite ignites. The closest it gets to ignition is Pugh’s performance. Styles is perfectly fine, but it’s her movie.
    • 76 Metascore
    • 75 Critic Score
    The Woman King
    The Woman King lets its excellent cast weave between hubris, shakiness, and strength, achieving not just richer representation but more thrilling fight scenes, too.
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