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. Too Late
    With Too Late, Hauck confirms that he’s a master of the film medium. What’s less convincing is why this film matters.
  2. Warlords
    It’s all lavish, if disposable. But in a nifty change of pace, the warriors in The Warlords are interesting.
  3. Candyman
    Acute and skillfully made, Candyman is also pointedly political.
  4. Oliver Sacks: His Own Life
    The documentary’s chief virtue, after the very considerable pleasure of getting to spend time in Sacks’s company, is learning how much his personal life rivaled his career in remarkableness.
  5. The Family Stone
    The movie is a holiday romantic comedy that wants to put the holiday romantic comedy out of business.
  6. Fat Girl
    Uncompromising and unforgiving, but ultimately more self-destructive than any of its characters.
  7. Birth of the Living Dead
    In the war between zombies and vampires for the domination of American popular culture, the zombies currently seem to have the edge. So suggests a montage in Rob Kuhns’s amusing but perfunctory documentary about the origins of the 1968 ur-text of zombiedom, George Romero’s “Night of the Living Dead.”
  8. Crimes of the Future
    Crimes of the Future works better as sort-of treatise than sort-of thriller. It’s a paradoxical thing to say about a filmmaker as intensely visual as Cronenberg, but his ideas are even more shocking than his images.
  9. Born to be Blue
    For the next two decades, the end notes reveal, Baker made the best music of his career. The film does its job if it encourages people to give that music a listen.
  10. Serenity
    For folks like me, who missed "Firefly," the short-lived TV show on which the movie's based, watching Serenity is like showing up for a big lecture course at the end of the semester. And yet, after an hour of intense disorientation, the movie's arch sarcasm becomes oddly entertaining.
    • 73 Metascore
    • 63 Reviewed by
      Ty Burr
    Heading South
    Cantet does something that educated, upscale audiences may find exasperating in the extreme: He takes a tinderbox of racial and sexual exploitation, pours gasoline all over it, and refuses to light the match.
  12. The Batman
    The Batman doesn’t plod, but it sure lacks a spring in its cinematic step.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Blood Diamond
    As an entry in the advocacy-entertainment genre, in which glamorous movie stars bring our attention to the plight of the less fortunate, Blood Diamond is superior to 2003's ridiculous "Beyond Borders" while looking strident and obvious next to last year's "The Constant Gardener."
    • 50 Metascore
    • 63 Critic Score
    City by the Sea
    The movie will be remembered primarily for the huge, emerging talent of James Franco, who plays De Niro's troubled son.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Jack Goes Boating
    This is one of those rare movies that genuinely likes its characters and wishes them the best; as agonizing as it can be to watch Jack fumble toward human connection, Hoffman knows the fumbling's the point.
  16. Moon
    Moon might be a once-in-a-lifetime experience for fans of Sam Rockwell. Will there ever be more of him in one movie than there is here?
  17. It Might Get Loud
    As documentary, it’s low concept. But it’s never dull.
  18. The Burning Plain
    The best performance here comes from a Mexican child actress, Tessa Ia, as half of one of the fraught mother-daughter relationships.
    • 40 Metascore
    • 63 Reviewed by
      Ty Burr
    Suicide Squad
    Suicide Squad prides itself on being “dark,” but it’s really just jokey, cynical, and violent, not to mention visually ugly as sin. It’s as subversive as milk. But the cast and the pacing keep it moving.
  20. Alias Betty
    Miller is certainly faithful to the spirit of Rendell's psychologically probing, class-dissecting novels, even if his probing doesn't go nearly as deep and his storytelling isn't as compelling.
  21. The Neon Bible
    The Neon Bible doesn't always supply the depth or underpinning its images demand, but there's nice work in it, and it won't bore you. [19 Apr 1996, p.55]
    • Boston Globe
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    Max
    In the end, the lure of the gimmick proves too much for Meyjes, clearly a writer-director of talent. If Max were half as audacious, it would be twice as good.
    • 51 Metascore
    • 63 Reviewed by
      Ty Burr
    Parkland
    Bulging with period details and a large and busy cast, Parkland is well made and at times queasily fascinating. At others, it gives in to melodrama and the ticking off of facts.
  24. Never Let Me Go
    Amazingly, Never Let Me Go could have been assembled from the Merchant-Ivory kit. It's stale with suppressed anguish.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Reel Paradise
    An amusingly damning portrait of a man trying to impose his will on a world that, really, has better things to do.
  26. Furiosa: A Mad Max Saga
    It’s a mechanical exercise that lacks suspense, is too long (at 148 minutes, it’s the franchise’s lengthiest film), and is so chockfull of exposition that I took more notes than I’ve done in years.
  27. Victoria and Abdul
    There’s a reason the names in the title don’t appear in alphabetical order. Abdul is the far more interesting character, but it’s her majesty the movie dotes on. God save the queen? Oh yes, and God help the rest of us.
    • 66 Metascore
    • 63 Reviewed by
      Ty Burr
    Family Law
    It's a deceptively small film, one whose observations may continue to detonate quietly in your mind after the lights have come up.
    • 68 Metascore
    • 63 Reviewed by
      Ty Burr
    The Valet
    The new movie is tart and weightless, and it entertains without leaving a mark. Not that there's anything wrong with that, but at 85 minutes, The Valet at times feels like a blueprint for a farce rather than the farce itself.
    • 77 Metascore
    • 63 Reviewed by
      Ty Burr
    High Ground
    A less than inspiring documentary about extremely inspiring individuals, High Ground is worth seeing for what it shows rather than how it shows it.
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