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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    • 48 Metascore
    • 63 Reviewed by
      Ty Burr
    The Judge
    A slick, ripsnorting character drama whose artistic ambitions are consistently neutralized by its commercial imperatives, puts Downey in a box from which even he can’t escape.
    • 50 Metascore
    • 63 Reviewed by
      Ty Burr
    A.C.O.D.
    Scott’s probably the perfect actor for this, since he’s too likably lightweight to suggest any emotion more crippling than exasperation.
  3. 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.”
  4. Inequality for All
    Another problem with “Inequality” is that it offers nothing new or surprising.
  5. Zaytoun
    A scene between Yoni and Fahed in the pilot’s makeshift holding cell is a microcosm of everything that’s right about the movie, and not quite right.
  6. Escape from Tomorrow
    Escape From Tomorrow, Moore’s sometimes surreal, sometimes sophomoric, black comic phantasmagoria, makes for a bumpy theme park ride.
  7. Chappie
    Chappie boasts so many entertaining elements, particularly the lead motion-capture performance by Blomkamp’s go-to guy Sharlto Copley, its shortcomings don’t sink the movie.
    • 48 Metascore
    • 63 Critic Score
    The Muslims Are Coming!
    The Muslims Are Coming! is at its best when the comedians talk to real people outside the controlled environment of a stage.
  9. We Are What We Are
    A grade A, meat-and-potatoes genre flick.
    • 51 Metascore
    • 63 Critic Score
    The Short Game
    What Greenbaum captures is compelling, and occasionally uncomfortable to watch. Sports in their purest form are played by children, who are — most of the time — much too young to be tarnished by professional-level jealousy, scandal, sacrifice, and unfair expectations.
    • 59 Metascore
    • 63 Reviewed by
      Ty Burr
    The Railway Man
    Throughout, Firth compellingly plays a man struggling to make sense of the ordeal that his life has become. Too often, though, you can feel the movie struggling right along with him.
    • 68 Metascore
    • 63 Reviewed by
      Ty Burr
    The Double
    With an aptness that may even be intentional, The Double feels both over-familiar and oddly new. It’s safe to call it a Kafka-esque tale, even though the Fyodor Dostoyevsky novel from which the movie is adapted was written in 1846.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Supermensch: The Legend of Shep Gordon
    Yet for all the love emanating from client-pals Michael Douglas, Sylvester Stallone, Emeril Lagasse, and Steven Tyler, there’s a sadness to this movie that remains just off camera.
  14. Horrible Bosses 2
    A new misadventure whose negligibly refined formula somehow ends up being more consistently entertaining.
  15. Spinning Plates
    So here’s a tip: Don’t desert this film before giving it a chance. You might not want seconds, but eventually it dishes up a satisfying slice of life.
  16. Design Is One
    You may not recognize the Vignelli name, but you certainly recognize their designs.
  17. Passengers
    More spectacular special effects might have helped, or at least something more creative than a spaceship that resembles a giant Christmas tree ornament shaped like a corkscrew. Perhaps as a well-written play for a cast of three, Passengers might have been first class. Instead, it’s just another mediocre thrill ride.
  18. White Reindeer
    Writer-director Zach Clark doesn’t rise much above that level of subtlety in his lampoon of the phony goodwill and soulless commercialism of the Yuletide season. Luckily, he has a cast that elevates the puerility into genuine pathos and absurdity.
    • 36 Metascore
    • 63 Reviewed by
      Ty Burr
    Dumb and Dumber To
    Everyone has piled into this dumber, sillier, more consistently funny reprise with an enthusiasm that’s infectious, and not in a low-grade medical way.
  20. The Sacrament
    West’s film differs from the “Blair Witch” template in that the footage is never actually “found.”
  21. Pan
    Passable adventure that offers the occasional flash of real cleverness.
  22. The Divergent Series: Insurgent
    It’s a sequel that sticks to more routine territory of action, angst, and dystopian gloom — mostly a sound approach, thanks to the consistent strength of franchise lead Shailene Woodley and a mix of intended and inadvertent surprises.
  23. The Raid 2
    The film was technically astonishing and yet brazenly simple.
  24. The Great Flood
    At its best, The Great Flood is hypnotic — at its worst, numbing.
  25. Visitors
    Visitors is lovely, soothing, like the cinematic equivalent of tasteful elevator music, but it doesn’t convey as much truth as a single glimpse into Triska’s eyes.
    • 52 Metascore
    • 63 Reviewed by
      Ty Burr
    Exodus: Gods and Kings
    Scott’s “Exodus” is dutiful, deeply earnest, and more than a little dull.
  27. Kill the Messenger
    It’s an engrossing portrait not only of government intrigue and crusading after the truth, but of media and their tangled motivations. Engrossing enough, in fact, that Cuesta needn’t try as hard as he occasionally does to heighten the drama and give it added flash.
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    Miss Julie
    It’s a handsomely mounted, intentionally claustrophobic film; too claustrophobic over the long haul, with relentless close-ups that constrict the galvanic emotions on display.
  29. For No Good Reason
    One of the best things about the documentary is their interaction, as Depp visits Steadman at his home in the English countryside — surely, it has a garden? — watching him draw and paint (and splatter) in his studio while asking him questions about his life and work.
  30. The Drop
    Hardy once again shows what quiet force and phenomenal range he has.
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