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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    • 58 Metascore
    • 75 Reviewed by
      Ty Burr
    Stone
    So few Hollywood movies go here that this one's oddly welcome, even in its most turgid moments, of which there are many.
  2. Indiana Jones and the Dial of Destiny
    A lot of people die, much danger is averted, and we’re once again treated to a grand spectacle at the film’s climax. It’s all wrapped up in a package that’s too neat to leave an impression.
  3. Wicked: For Good
    Like its predecessor, Wicked: For Good benefits greatly from the fact that its two leads are fantastic singers, and its director knows how to stage a musical number.
    • 58 Metascore
    • 50 Reviewed by
      Ty Burr
    The Invention of Lying
    With The Invention of Lying, the British comic actor Ricky Gervais has come up with a wickedly funny idea for a movie - and then purged the wickedness right out of it.
  5. Elemental
    With its preachy, dull love story between a boy made of water and a girl on fire, Elemental should have been called “Guess Who’s Coming to Disney.”
  6. The Yards
    By the end, we're left with a feeling of depletion rather than resolution, which may have been Gray's intention.
    • 58 Metascore
    • 63 Reviewed by
      Ty Burr
    The Holy Land
    For all the film's flaws, it has a caustic, nondenominational view of apocalypses to come.
  8. Benny & Joon
    Every now and then, Benny & Joon makes you think it's going to finally take off, but it never does. It looks good but has credibility problems even on the level of whimsical fairy tale. [16 Apr 1993, p.86]
    • Boston Globe
  9. The Lords of Salem
    There are echoes of Roman Polanski’s “Rosemary’s Baby” in all of this that are impossible to miss.
    • 57 Metascore
    • 63 Reviewed by
      Ty Burr
    Renaissance
    Stark eye candy of the first order, the film is saddled with the oldest story this side of "Blade Runner." Still, comic-book fanboys and graphic designers with time to kill should feel no shame in checking this one out.
    • 57 Metascore
    • 75 Reviewed by
      Ty Burr
    All Good Things
    Jarecki's not remotely in Scorsese's league yet, but he knows New York and he has seen the dark soul of man. Maybe next time he won't blink.
    • 57 Metascore
    • 75 Reviewed by
      Ty Burr
    Crank
    Crank is an efficient, witty, junkyard dog of an action movie for its first hour. Unfortunately, the script runs out of gas before the hero does. While it's cooking, though, it's violently preposterous fun.
    • 57 Metascore
    • 75 Reviewed by
      Ty Burr
    Keeping Up with the Steins
    To paraphrase the old ad for Levy's rye bread, you don't have to be Jewish to love "Keeping Up With the Steins," but it helps.
    • 57 Metascore
    • 75 Reviewed by
      Ty Burr
    Flawless
    It's assured and neatly crafted - the time zips by while you're watching it.
  15. Terraferma
    The story gets both complicated and predictable.
  16. Daybreakers
    Daybreakers has unexpected flashes of brilliance.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    Trishna
    Trishna should move the soul and engage the tear-ducts, yet it passes by as distant as it is lovely. And the blame must fall on the movie's star, Freida Pinto.
  18. The Book of Clarence
    Samuel’s sophomore full-length feature is an ambitious misfire, a noble failure that starts off like “Monty Python’s Life of Brian” and ends like “The Passion of the Christ.”
  19. Lila Says
    Lila is all come-ons without any charm.
  20. Paul
    Never achieves the exhilarating feat of exemplifying the types of Hollywood movies it wants to unpack.
    • 57 Metascore
    • 63 Reviewed by
      Ty Burr
    Color Me Kubrick
    Color Me Kubrick digs all sorts of devilish ironies out of this "true...ish story," and it's a fine dark farce before turning sad and, worse, monotonous. The con wears off before the movie does, but while it's in the air, "Kubrick" spins with bogus cheer.
    • 57 Metascore
    • 88 Critic Score
    Going All the Way
    Going All the Way is a familiar story told with daring and unsentimental eloquence. At a time when it is rare for exceptional books to become exceptional films, Pellington's debut arrives as a pleasant and welcome exception. [10 Oct 1997, p.C5]
    • Boston Globe
  23. My Wife Is an Actress
    The film's most endearing trait is that these people sincerely love movies, and they truly love their own idiosyncrasies. And is that not the greatest love of all?
    • Boston Globe
  24. Holy Smoke
    In the end, Holy Smoke crashes and burns.
    • Boston Globe
  25. The Sea Is Watching
    As rich and literary a work as you might expect.
  26. The Ring
    The unworthy new Hollywood remake of Japan's horror phenomenon, ''Ring,'' has packed on a definite article and a whole lot of hooey.
  27. Osmosis Jones
    In a dismal summer for movies, Osmosis Jones is a fresh breath of foul air.
    • 57 Metascore
    • 63 Reviewed by
      Ty Burr
    The Laundromat
    All these segments are well made and engaging, but their lack of interconnectedness reduces The Laundromat to a sketch comedy, and random guest appearances by actors like Sharon Stone (as a Vegas real estate saleswoman) and David Schwimmer (as a small-time lawyer) only add to the scattergun atmosphere.
    • 57 Metascore
    • 63 Reviewed by
      Ty Burr
    The Zookeeper's Wife
    And there you have the problem with The Zookeeper’s Wife: Dialogue and plotting that keep this inspirational, mostly true story earthbound by hitting every note with a hammer.
  30. Spinal Tap II: The End Continues
    This time, director Rob Reiner and his cast take aim at comeback concerts and the documentaries they often spawn. In other words, “Spinal Tap II” is both a satire and an example of what it’s satirizing.
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