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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    • 56 Metascore
    • 38 Critic Score
    Boy Culture
    It doesn't know if it wants to wallow in its characters' pity or to flesh them out with their own personalities. So it does both, with half-hearted results.
  2. Saints and Soldiers
    For a certain kind of moviegoer, Saints and Soldiers provides above-average nostalgia. Others, more hardened, might call it child's play.
  3. The Chorus
    The crime of The Chorus isn't that it's corny. (I like corny.) It's that its corniness seems programmed.
  4. Deadpool & Wolverine
    Ridiculous even by superhero standards, it remains more or less coherent.
  5. Mermaids
    Frankly, Mermaids is the kind of movie that needs the strong personalities of Cher and Ryder, and is lucky it has them. They put the movie over. It has a weak script, and the direction by Richard Benjamin - who had two predecessors on this project - is so reticent as to be almost absent. There's almost no pacing or shaping to speak of. [14 Dec 1990, p.53P]
    • Boston Globe
  6. Lords of Dogtown
    The movie is like a daydream, and it's most infectious when the characters are in motion or misbehaving, which is often.
    • 56 Metascore
    • 38 Reviewed by
      Ty Burr
    Diary of a Wimpy Kid
    Diary of a Wimpy Kid the movie returns Kinney's tale to live-action reality, and the party's over.
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    Focus
    There’s a terrific popcorn movie in Focus — a con-game romantic comedy that bubbles along on a playful high and that keeps the audience guessing in a state of delighted suspension of disbelief. Unfortunately, that movie is over after 40 minutes, and Focus still has another hour or so to go.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    How to Eat Fried Worms
    The movie has a pleasing skinned-knee innocence that makes you wish everything else about it wasn't so shoddy.
  10. Leatherheads
    The film moves slowly and steadily, but it's never exactly dull, just mild.
  11. Paper Towns
    Will miracles never cease? Alas, they do. Pausing pregnantly between clauses to add to their trite profundity, Quentin recites the moral of the story, and it’s as phony as the towns of the title.
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    Tom of Finland
    In a subtle but wily performance, Strang never loses sight of his character’s innate sense of resistance. By drawing his way out of the closet, Tom of Finland drew a door for others to come out as well.
    • 56 Metascore
    • 63 Critic Score
    The Cherry Orchard
    As Ranevskaya, the film's focal point and one of its only sources of vitality, Rampling is an enigmatic treasure.
  14. The Five Senses
    A deft, elegant, melancholy tapestry of flawed outreach, and the big reason it succeeds is Podeswa's courage in dispensing with a lot of exposition and trusting the audience - and the faces of the actors - to fill a lot of what otherwise would be gaps.
    • Boston Globe
  15. The Big Kahuna
    It's no meal, but it'll tide you over.
    • Boston Globe
  16. Once Upon a Time in Mexico
    It's a grisly, chuckling cartoon made on shots of tequila, Red Bull, and Sergio Leone.
  17. The Fate of the Furious
    Polar chaos notwithstanding, “Fate” delivers action with more consistent visual precision than in the last couple of films, as newly enlisted director F. Gary Gray accesses the flair he brought to 2003’s “The Italian Job.”
  18. It's All Gone Pete Tong
    Isn't all wrong. But even at its very best, it's just all right.
  19. Quick Change
    As a performer, Murray moves through the film with a lovely doomed aplomb. And his quick verbal wit is almost enough to pull Quick Change off. But as a director, his inexperience costs him. His camera isn't as quick as his tongue. [13 Jul 1990, p.29]
    • Boston Globe
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    Non-Stop
    Writers John W. Richardson, Chris Roach, and Ryan Engle bet that the central hook — Who’s the bad guy? How’s he doing this? — will keep us paying attention. And they’re right.
    • 56 Metascore
    • 75 Critic Score
    DC League of Super-Pets
    Kids will enjoy this film for the slapstick humor, but everyone will be rooting for Krypto to be lauded as a good boy.
  22. Storks
    The result is a story that’s awfully scattered thematically, but one with such inventive wit and screwball-quick pacing that issues like spongy motivation hardly seem to matter.
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    Valkyrie
    It's a smooth, compelling, almost suspenseful (more on that in a bit), and slightly hollow Hollywood period piece.
    • 56 Metascore
    • 38 Reviewed by
      Ty Burr
    Don't Be Afraid of the Dark
    While there are moments of eldritch atmosphere and a few pro forma jolts, nothing here justifies our attention, let alone the film's inexplicable R rating.
  25. Drive-Away Dolls
    This entire film is a troll, a refreshing, claws-out swipe at anti-LGBTQ+ rhetoric and beliefs. It’s also a testament to the power of queer people in front of and behind the camera.
  26. Date Night
    Date Night manages to live down to its store-brand title.
  27. Driving Lessons
    Everybody in the movie is so tightly wound that Walters seems a model of actorly limberness. She cuts through the movie with speed and mannish, zany wit.
    • 56 Metascore
    • 75 Reviewed by
      Ty Burr
    French Exit
    French Exit allows Pfeiffer free rein to play, and her performance is glorious in a major key of scornful hauteur and a minor key of self-pity.
  29. Stupid Boy
    Garçon Stupide was shot on digital video and is the rare piece of European sexual realism centered completely on a boy's awakening.
  30. Sylvia
    At heart, Sylvia is constructed as a psychological suspense film framed around the ambiguities of Hughes's infidelity and Plath's resulting paranoia. So at its strangest, the movie is a potboiler.
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