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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    • 82 Metascore
    • 63 Reviewed by
      Ty Burr
    Steve Jobs
    We don’t go to Hollywood movies for hard facts, but it’d be nice to think we’re getting some kind of truth with our entertainment. Maybe Aaron Sorkin thinks we can’t handle the truth.
    • 54 Metascore
    • 63 Reviewed by
      Ty Burr
    The Bank
    Handsomely shot and edited, The Bank benefits greatly from the brutal ministrations of LaPaglia,
    • 59 Metascore
    • 63 Critic Score
    Hannah Montana & Miley Cyrus: Best of Both Worlds Concert
    She has boundless energy, a wardrobe that won't quit, and enough real teenager in her to come across as more than a mere Disney creation.
  4. Les Miserables
    After 2½ hours, the movie's become a bowl of trail mix - you're picking out the nuts you don't like and hoping the next bite doesn't contain any craisins. All the carefully crafted misérables turns into a pile of miz.
    • 46 Metascore
    • 63 Reviewed by
      Ty Burr
    King Arthur
    King Arthur does to this legend what "Troy" did to Homer, with one important difference: It's a better movie.
    • 51 Metascore
    • 63 Reviewed by
      Ty Burr
    The Face of Love
    The result isn’t a great movie, but it is an excellent guilty pleasure.
  7. Jetsons: The Movie
    You're never unaware of the calculation underlying this Jetsons movie. Still, it succeeds in teleporting the clan to the movie screen. [6 July 1990, p.61]
    • Boston Globe
  8. Saving Face
    Actually the problem with Saving Face as a romantic comedy is that its central romance is a drag.
  9. Uncle Buck
    Hughes succeeds more than he has any right to in Uncle Buck because he's able to override sitcom cliche with generosity. It's a smart idea to let Candy play feelings instead of just fatness and bluster. For a movie that isn't really that good, Uncle Buck is surprisingly likable. [16 Aug 1989, p.77]
    • Boston Globe
    • 52 Metascore
    • 63 Critic Score
    Beefcake
    It leaves you with an odd, sweet-and-sour taste - nostalgia painted in pastel colors, streaked with black smears.
  11. Hotel Transylvania
    Some might say there isn't enough that's fresh here to recommend the movie in a big way, except that every generation of trick-or-treaters deserves its monster mash.
    • 70 Metascore
    • 63 Critic Score
    Resurrection
    Like many other contemporary psychological thrillers, “Resurrection” is far better at building up tension than it is in pulling together its narrative threads. It’s a little over-infatuated with its own perceived complexity, as if giving the audience any kind of conventionally plausible wrap-up is beneath its mission.
  13. Prelude to a Kiss
    The film has mood and feeling, but it can't take the material that final mile into the inexplicable. [10 Jul 1992, p.35]
    • Boston Globe
    • 66 Metascore
    • 63 Reviewed by
      Ty Burr
    Crimson Peak
    This is a film that believes deeply in ghosts, and half of them are in its director’s head.
  15. Red Trousers: The Life of the Hong Kong Stuntmen
    Fills you with a healthy respect for the men and women gladly risking their lives for your entertainment. The film itself works best with its into-the-camera reminiscences and on-the-set mishaps.
  16. Missing Link
    One quibble: For such a legendarily elusive spot, the snowmen’s Himalayan hideaway seems awfully well trodden these days. If you thought the similarity between, say, “Coco” and “The Book of Life” was a case of animators not looking resourcefully enough for inspiration, how about the trifecta of “Smallfoot,” “Missing Link,” and DreamWorks’s upcoming “Abominable”?
    • 45 Metascore
    • 63 Reviewed by
      Ty Burr
    Evergreen
    An earnest, simplistic, affecting slice of low-watt indie filmmaking that goes where few American movies bother: below the poverty line.
  18. Miss Congeniality
    She (Bullock) has a way of landing on her feet and remaining simpatico no matter how cheesy the script is. That's what happens here.
    • 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.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    The Beach Bum
    Thus the hapless hordes of college kids who went to see “Spring Breakers” hoping for a mindless good time and were appalled when the fun got spit back in their faces with candy-colored brio. That movie was and is a conceptual masterpiece, a movie specifically built to cross an audience’s wires. The Beach Bum, by contrast, isn’t close to that level.
  21. Pitch Perfect
    The college singing-group comedy Pitch Perfect isn't dumb, but Kendrick's participation implies that it might also be smart. And sometimes it is.
  22. 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.
  23. Tell No One
    Once the final character has put the last puzzle piece in place, courtesy of an epic explanation, a kind of relief sets in: Someone just needed to spell it all out. It does not entirely help.
  24. The Curious Case of Benjamin Button
    At its most profound, Benjamin Button isn't about anything more important than Pitt's very handsomeness, which, for a surprising stretch of time, is a wonderful subject for study.
    • 52 Metascore
    • 63 Reviewed by
      Ty Burr
    Beautiful Creatures
    It’s all a big, gluey metaphor for a girl’s sexual fears and raging mom conflicts, and, as in “Twilight,” the metaphor itself gets buried under mounting waves of CGI nonsense and a ridiculous back story about reincarnated Civil War lovers.
  26. Client 9: The Rise and Fall of Eliot Spitzer
    Gibney has too much information, too much material, and too many people to shape a mystery or a drama or even a farce out of it all. His movie has elements of all three without ever sustaining one.
  27. Team America: World Police
    Stuck between point-blank ridicule and the obligations of a weary plot. Surprisingly, more than an hour of watching marionettes fight, curse, and fornicate turns out to be as dull as watching Michael Dudikoff do the same thing in one of his unremarkable soldier movies.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    Unforgivable
    Everyone is equal parts emotional victim and villain in Unforgivable, an elegantly rambling Franco-Italian affair about the ways we do each other wrong while trying to do each other right.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Anna Karenina
    The new film staggers under such a weight of self-conscious visual style that the story never connects with a viewer's emotions. Leo Tolstoy's classic novel has been filmed often, but this is the first time it takes place in a snow globe.
    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    Holes
    Holes functions as a film, but just barely: Readers familiar with the book may negotiate the film's antic crosscutting, but newbies will need to pop a Dramamine before the lights dim.
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