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. Hands of Stone
    The highlight is Duran and Arcel’s bonding in the corner between rounds. We’ll take more of this revealing brand of drama anytime.
  2. 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.
    • 50 Metascore
    • 63 Reviewed by
      Ty Burr
    Going in Style
    The 1979 film was both more casual and much darker about the realities and infirmities of old age, and it had one of George Burns’s better performances. It was a funny, touching experience, and it was a bitter pill. The new movie is a placebo, with Hallmark emotions put over by a cast of solid-gold professionals.
    • 69 Metascore
    • 63 Reviewed by
      Ty Burr
    Lion
    Lion is shameless and heartfelt and you’ll probably have a good, happy cry at the end. When a story pushes buttons so deeply wired into our consciousness...craft seems almost beside the point.
  5. 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.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Men & Chicken
    As visually overstuffed as a hoarder’s apartment, the movie improves as it goes.
  7. Genius
    The film is surprisingly light on conflict and definitely goes a bit heavy on period bromantic bonhomie. Even so, it’s an intriguing study of the personalities and torturous process behind some of the early 20th century’s great writing.
  8. The Infiltrator
    The movie’s best moments illustrate the lines that Mazur won’t cross, plus a few that he will.
  9. A Cure for Wellness
    It is at least 10 movies in one, some of them ingenious parodies, but all adding up to a cluttered, confused anticlimax.
  10. The Shallows
    If there’s one popcorn movie so far this summer that actually makes us fear for — and care for — its protagonist, this is it.
  11. Hockney
    That we don’t hear more from Ruscha is one of the documentary’s flaws. Hockney, the subject, is like a great painting. Hockney, the documentary, is a pretty plain frame.
    • 52 Metascore
    • 63 Reviewed by
      Ty Burr
    We the People: The Market Basket Effect
    The filmmakers have made this for the purposes of near-term celebration rather than long-term understanding, and they’re probably judging their audience well.
  13. It
    Ultimately, cast and crew conjure up horror that’s more efficient than terrifying.
  14. Hacksaw Ridge
    It is epic in scope, intimate in detail, and otherworldly in its dimensions, like the Bayeux Tapestry with special effects and a stentorian soundtrack.
    • 60 Metascore
    • 63 Reviewed by
      Ty Burr
    Rules Don't Apply
    This is not a well-made film but it is an enjoyable one, in part because it’s genuinely unpredictable and in part because it’s a pleasure to see one of the great stars of his era on a movie screen once more.
  16. The Final Master
    Visually, this translates into thrilling action sequences of lone knife-wielders hewing down ranks of adversaries with balletic precision. If preserving this means sacrificing a scruple or two, it’s worth the trade.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    Nocturnal Animals
    I don’t mean it as a cheap shot, but Nocturnal Animals is very like an exquisitely rendered window display. It’s something at which you pause and peer into and catch your breath — and then move on.
  18. Anthropoid
    At its best the film evokes the palpable terror of a city where uniformed thugs could arrest or kill anyone at any time with impunity.
  19. Denial
    The film works adequately as a historical drama.
  20. Wicked
    The biggest problem I had with this visually unappealing cinematic version of “Wicked,” is that it can’t handle the tonal shifts.
  21. Absolutely Fabulous: The Movie
    It’s comedy with a hint of honesty — but we’re fine with shallow and sparkly, dahling.
  22. In Order of Disappearance
    The sardonic laughs include title cards with the name of each character who has joined the ranks of the disappeared.
  23. The People vs. Fritz Bauer
    Because of the film’s earnest awkwardness, these excursions into the demimonde come off as campy.
    • 49 Metascore
    • 63 Reviewed by
      Ty Burr
    Gold
    The movie's an easy, engaging watch, even if it's literally all over the map.
  25. Split
    It’s a movie eager to examine the stigma of mental illness and the dynamics of victimization, to a point. Past that, it’s just distressing, narratively convenient exploitation that gets by on the strength of McAvoy’s fearless, electrifyingly adaptive performance.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    T2 Trainspotting
    T2 Trainspotting wears out its welcome slowly, like a group of old men running out of stories to tell in an afternoon pub.
  27. Land of Mine
    One appreciates the desire of the filmmaker to let the audience fill in the back story, but Rasmussen’s behavior reflects badly on the Danish and heightens sympathy for the POWs.
  28. A Man Called Ove
    Lassgård won’t let you off easy: A scene in which Ove weeps hopelessly before the magnitude of his loneliness will bring tears to the eyes of anyone who has suffered a loss. His Ove is a man indeed.
  29. Ferdinand
    The good news is that while the movie is susceptible to some pandering, it also takes the story’s charming core elements and gives them a contemporary luster.
  30. Being 17
    The performances are meticulous and passionate, the narrative low-key and obliquely sensitive enough to conceal, until the traumatic incidents keep piling up, the film’s contrivance.
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