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. 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.
  2. The Clan
    It’s a mordant if unwieldy thriller examining how evil not only becomes the norm, but a virtue.
  3. Sunset Song
    Has its moments of grace, but too often resorts to conventions and a tone of high lugubriousness.
  4. The Boy and the Beast
    For answers, prepare to sit through two hours of complications, though you will probably figure it out before the spectacular ending.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    Microbe and Gasoline
    Charming, melancholy, and, in the end, not terribly memorable.
  6. Extraordinary Tales
    Perhaps Poe’s tone poses a problem; the edge-of-hysteria voice does not hold up well over the course of a feature-length film.
  7. Cars 3
    This is the rare movie that might benefit from silence. Partly that’s because of the squeezed syrup of Randy Newman’s score.
  8. Why Him?
    A James Franco-Bryan Cranston teaming that’s not as wild as intended, but reasonably diverting just the same.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Miles Ahead
    It’s all deeply felt and just as deeply unfocused, and that, more than the invented story line, betrays the movie’s subject.
  10. The Man Who Knew Infinity
    The storytelling here might also be stronger if Brown’s dialogue were less conspicuous, and left it to Patel and top-billed Jeremy Irons to more subtly communicate their characters’ passion for numbers.
  11. Troublemakers: The Story of Land Art
    Crump has directed Troublemakers with assurance and energy. Perhaps too much so.
    • 48 Metascore
    • 63 Reviewed by
      Ty Burr
    The Girl on the Train
    If only the movie had the courage to be as gonzo as it wants to be!
  13. Peggy Guggenheim: Art Addict
    If the documentary isn’t especially deep, maybe that’s because its subject wasn’t.
  14. Allied
    What Allied increasingly offers is insincere sincerity: As the emotional quotient rises, so does the phoniness.
  15. Fantastic Beasts: The Secrets of Dumbledore
    It’s a happy task to report that Fantastic Beasts: The Secrets of Dumbledore is a marked improvement on “Crimes.”
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Keanu
    If you’re in the right mood and seeing it with the right crowd, Keanu can put you close to a giggle coma, even as you realize the material’s far beneath the talents of its stars. They’re Key and Peele, but the movie treats them like Abbott and Costello.
  17. War Dogs
    Hill’s braying-bro performance is indelible. Unfortunately. Go ahead, try to forget his more-more-more grin as he fires away, testing those Chinese bullets. He’s so grotesque you can’t take your eyes off of him. He’s also so grotesque you really want to.
    • 59 Metascore
    • 63 Reviewed by
      Ty Burr
    Elvis & Nixon
    Elvis & Nixon strains itself to bring the title duo together and then relaxes — finally — while Spacey and Shannon perform the actor’s equivalent of a waltz.
  19. The Snowman
    Director Tomas Alfredson and cinematographer Dion Beebe have given The Snowman a gloriously subdued look.
  20. Goat
    John Landis’s “Animal House” (1978) this is not.
    • 60 Metascore
    • 63 Reviewed by
      Ty Burr
    Eisenstein in Guanajuato
    A lot of this is naughty, overproduced egghead fun, and the scenes between Eisenstein and Canedo simmer with sexual tension. But too much is never enough for Greenaway, and while the leading men give bravura performances, the supporting cast is weak — Lisa Owen as Mrs. Upton Sinclair is actively dreadful — and the film’s hyperactivity ultimately wears you down.
    • 76 Metascore
    • 63 Reviewed by
      Ty Burr
    Marguerite
    Marguerite strives for ambiguity and settles for a muddle. It piles too much on its serving plate, and at 129 minutes it’s definitely overlong.
  23. Complete Unknown
    The film comes across as an irksome contrivance. What’s meant to communicate the mysterious, even taboo allure of playing chameleon instead just leaves us scoffing.
    • 69 Metascore
    • 63 Reviewed by
      Ty Burr
    The Birth of a Nation
    Produced, co-written, and directed by its star, The Birth of a Nation is very much a first film, its hesitancies disguised as bluntness, and the best things about it are Parker’s acting and his ambitions.
  25. Christine
    Campos really doesn’t need to tack on such heavy-handed irony as the scene near the end of a disconsolate woman eating ice cream and singing along with the theme song of “The Mary Tyler Moore Show.”
  26. The Lovers and the Despot
    What they don’t quite make clear, and perhaps it is impossible to do so, is what really happened in this odd episode of international espionage epitomizing movie-mogul tyranny.
  27. F9: The Fast Saga
    Usually loud and almost always ridiculous, F9 is action-packed enough to make your carburetors seize up.
  28. Fast X
    Fast X is watchable, and its car chases are often exciting, but it’s not as satisfying as the best F&F movies (“Fast and Furious 6,” “Furious 7,″ and the extremely ridiculous “F9″). Part of the problem is Dante.
  29. The Watermelon Woman
    Although Watermelon Woman is at times rudimentary and slight, it's saved by its humor and its way of tweaking political correctness. [9 May 1997, p.C6]
    • Boston Globe
    • 81 Metascore
    • 63 Reviewed by
      Ty Burr
    Blade Runner 2049
    So swollen with purpose, so titanically self-conscious in its mythmaking, that at times its nearly paralyzes itself with solemnity.
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