Boston Globe's Scores

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:
7950 movie reviews
  1. What's astonishing is that the movie is not a half-baked production. The spectacle now LOOKS spectacular.
  2. A Knight's Tale, will either repel you or win you over. It won me over.
    • 56 Metascore
    • 63 Critic Score
    It's just weirdness for the sake of weirdness, and where ''Human Nature'' should be ingratiating, it's just grating.
  3. A big, lascivious punch line about America's peculiar, embarrassed, hypocritical relationship with sex.
  4. Slickly directed by Joel Schumacher, who sees that each and every button in this unabashedly manipulative film is pushed hard, Falling Down could have been deeply disturbing if it weren't so cartoony, so determined to glibly escape the moral consequences of the vicarious white-rampage fantasies to which it caters. [26 Feb 1993, p.25]
    • Boston Globe
  5. In both senses of the word, Posse is a colorful outing that fills a real gap, a film you can respect as well as enjoy. [14 May 1993, p.45]
    • Boston Globe
  6. A sequel that makes it clear that the outrageous antics of the first movie had a one-time-only charm.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    An unusual story and sharp talents have been put through the Disney family-film machinery and come out flattened into formula. It’s an average movie, and that isn’t bad — just average.
  7. American Violet feels less like life and unreasonably more like the movies.
  8. Some of this vigilante-fantasy misbehavior is wickedly funny.
  9. Maybe because Hachmeister has a background in journalism, his movie endeavors to educate by covering a lot of ground in its 90-plus minutes, which is certainly commendable, it's just not that satisfying.
  10. The film has a habit of cutting away from interviews for Maher's commentary during the drive to the next location. You can see him trying to work the car for a laugh.
  11. It's a self-conscious, inherently absurd tale of a rich black family invaded by secrets, lies, working-class loudmouths, and one or two pairs of pants found down around the ankles.
  12. The movie is a holiday romantic comedy that wants to put the holiday romantic comedy out of business.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    It’s a watchable disappointment that leaves mostly frustration in its wake.
  13. A characteristic early offering from horror icon David Cronenberg, rough production values and all. [30 May 2004]
    • Boston Globe
  14. 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.
    • 56 Metascore
    • 75 Reviewed by
      Ty Burr
    Does what an exploitation movie should: It gets in, it scares you silly, and it gets out, all while playing fair by the audience.
  15. Is a man with Asperger’s boyfriend material? It’s difficult to determine how we wind up here, but it’s strange that a movie ostensibly about a man and his lack of social options left me depressed about a woman and hers.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    The movie looks great at least, and the cast includes such stalwarts of Italian cinema as Claudia Gerini and Pierfrancesco Favino.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    Doesn't have the gonzo wit of ''Re-Animator'' or ''Evil Dead 2,'' nor is it flat-out terrifying like ''The Texas Chainsaw Massacre'' or even a zombie-come-lately like this year's ''28 Days Later.''
    • 56 Metascore
    • 38 Reviewed by
      Ty Burr
    The result is a revenge thriller that's too taken with its own ambience to actually thrill.
    • 56 Metascore
    • 25 Critic Score
    The film’s zippy graphics are a treat, but its zippy arguments are slipshod.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    Pike understands the woman she’s playing was a genius and that genius is rarely likable; her performance bristles with charismatic impatience.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    Race wants so badly to get every last bit of the big picture that it dashes past the little details that actually tell a story. Like an over-trained athlete who pulls a hamstring in the big race, the movie tries to do it all and comes up short.
    • 56 Metascore
    • 75 Reviewed by
      Ty Burr
    A straightforward and rather sane version of the events described in the book and, against all odds, a surprisingly effective movie.
  16. It's got flaws, but, more important, it's keenly felt and it boils off the screen with urgency. [13 Dec 1991, p.66]
    • Boston Globe
  17. Manages to be both compelling and unsatisfying. But what limits it isn't lack of execution. The movie is many things, but a mess isn't one of them. Estes knows exactly what he wants. Whether it's worth wanting is another matter.
    • 56 Metascore
    • 25 Critic Score
    Nightbitch is a satire that needed to be more fearless and dangerous. Instead, its bark is far worse than its bite.
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    The best moments in Watchmen, then, work as delirious music-videos.

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