Boston Globe's Scores

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For 7,947 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 1.1 points 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: 5,229 out of 7947
  2. Mixed: 1,553 out of 7947
  3. Negative: 1,165 out of 7947
7947 movie reviews
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  1. Hedwig and the Angry Inch
    If you thought ''Moulin Rouge,'' or, for that matter, ''Tommy,'' was trippy, Hedwig, with its glorious convergence of material and performer, will show you what you've been missing.
    • Boston Globe
  2. Holy Motors
    The film has sprung from the mind of the Frenchman Leos Carax and ought to be seen to be believed, on the largest screen you can find, and probably sober, too, since it becomes its own narcotic.
  3. God's Own Country
    As the story arcs toward its touching denouement, it’s those quiet moments — imbued with the windswept soul of the landscape — that harbor the most lyrical beauty.
  4. Kaili Blues
    Bi’s singular vision bears comparison to those of other geniuses such as Tarkovsky, Sokurov, David Lynch, Luis Buñuel and Apichatpong Weerasethakul, Like those auteurs, he achieves what film is best at but seldom accomplishes — a stirring of a deeper consciousness, a glimpse into a reality transcending the everyday.
  5. The Intruder
    Enigmatic as it is, The Intruder dares us to see movies as visual marvels tethered to humanity.
    • 85 Metascore
    • 75 Reviewed by
      Ty Burr
    The Dark Knight
    You come away impressed, oppressed, provoked, and beaten down, holding on to Ledger's squirrelly incandescence as a beacon in the darkness.
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    Everybody Wants Some!!
    A nice long soak in the Proustian detritus of its era.
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    The Past
    The Past, the new film from Iranian director Asghar Farhadi, is taut, quiet, democratic, observant — a fine meal made with rare and subtle ingredients.
  9. Pillion
    Pillion is the story of that one relationship that defines a person, the one that finally reveals to them what they want out of sex, love, and life. We can all relate to that.
  10. Black Bag
    Soderbergh stages these games of one-upmanship as tight, dialogue-heavy scenes of discomfort and suspense.
  11. One Child Nation
    Similar to Joshua Oppenheimer’s “The Look of Silence” (2014) in its confrontation with those implicated in past crimes, Wang’s film differs in that many of her subjects are both victims and perpetrators.
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    24 Hour Party People
    Just don't expect the truth. An extremely bent, highly amusing form of the truth, maybe, but not the truth. 24 Hour Party People shares with the current Robert Evans documentary ''The Kid Stays in the Picture'' an awareness that a good anecdote often trumps the facts, but here the cheats are cheekily laid bare.
    • 85 Metascore
    • 75 Reviewed by
      Ty Burr
    Identifying Features
    The movie ultimately seems to suggest that the evils unleashed upon Mexico come from a place beyond humankind, which seems an easy way out after all Magdalena and Miguel have been put through. That said, this remains a terrifying cinematic vision that can’t be ignored, from a young filmmaker who won’t be.
    • 85 Metascore
    • 75 Reviewed by
      Ty Burr
    Atonement
    The movie never goes as deep as the novel (no movie could), but it's a worthy approximation: a Merchant-Ivory movie that turns in on itself with a lucid and painful sigh.
  15. The Tree of Life
    The movie is church via the planetarium. It's as if Malick set out to paint the Sistine Chapel and settled for a dome at the Museum of Natural History.
  16. Decision to Leave
    Decision has real velocity without in any way feeling hectic or rushed.
  17. Alexandra
    Alexandra is a pleasure to watch, but it's also one of those lovely, unclassifiable movies that flourishes better with repeated or prolonged exposures.
  18. The Fabelmans
    This is Spielberg’s most personal film, and it’s intriguing to watch him pay homage to the directors who made up his group of friends in the early 1970s.
  19. Naked
    Naked is one of the most scorchingly compelling films in years, Mike Leigh's masterpiece, an unflinching vision of civilization in retreat, life as apocalypse. [4 Mar. 1994, p.51]
    • Boston Globe
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    The Host
    Mostly, though, it's "Godzilla" with a severe case of Murphy's Law, and it is never less than bizarrely delightful.
  21. Grisbi (re-release)
    Roughly translated, Touchez pas au Grisbi means ''don't touch the loot.'' But in literal terms, this film version of Albert Simonin's blockbuster really couldn't care less who ends up with the cash.
  22. Women on the Verge of a Nervous Breakdown
    The women here aren't afraid to get extreme about love, but in the end, you sense that they are too sound to destroy themselves over the worthless man they have allowed to personify it. That's what lifts Women on the Verge of a Nervous Breakdown from the amusing to the sublime. [23 Dec 1988, p.23]
    • Boston Globe
  23. Restrepo
    The movie puts us so close to so much yet keeps its emotional distance -- as if to say, no matter how much we see, we'll never truly know.
  24. The Iron Giant
    A solid, not to say ironclad, winner in the less than overcrowded family animation arena.
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    Beanpole
    The movie is floating into a fierce war of wills between Iya and Masha, one in which their locked stares gradually seem to become an eerie, eternal bond of sisterhood. They can’t look away. Neither may you.
  26. Won't You Be My Neighbor?
    In his three-decade run, Rogers touched millions of souls. But the film is honest in questioning whether, in the end, he really made a difference.
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    Meek's Cutoff
    There's nothing out there remotely like Meek's Cutoff, for which some viewers may be thankful. The ending seems calculated to drive the literal-minded screaming out of the theater and yet it's the only possible way out.
  28. The Long Day Closes
    Sensuous and rarefied, elevating its particulars into epiphanies, The Long Day Closes is as joyful as introversion gets. [9 July 1993, p.25]
    • Boston Globe
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    Fruitvale Station
    Writer-director Coogler could easily have turned Fruitvale Station into a work of agitprop — a film to work you into a froth of anger — but he’s after things that are harder to grasp: the measure of a man’s life and the smaller struggles, satisfactions, and injustices that can fill it.
  30. I'm Still Here
    Director Walter Salles returns to the political filmmaking he employed in the 2004 Che Guevara film, “The Motorcycle Diaries.” Like that film, this one follows a protagonist who becomes an activist after being jarred by political events.
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