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. Lord of the Flies
    Like the earlier film version, this one often exchanges the dark poetry of Golding's writing for action and connect-the-dots social anthropology, but it's crisp, taut and involving nonetheless. [16 Mar 1990, p.39]
    • Boston Globe
  2. Sometimes Always Never
    This extremely dry film mixes humor and melancholy to distinctive, if muffled, effect. Take away the muffled part, and that’s very Nighy, too. In being winningly understated and sometimes maddeningly stylized, Sometimes Always Never is a bit like Alan.
  3. The Gentlemen
    It’s a diverting if slightly undercooked throwback that could offer more genuine intrigue, but that’s still worth it to see the cast gamely chuck out the window manners and vanity.
  4. Sister Act 2: Back in the Habit
    More than any of the sappy writing ever does, their collective presence reminds us that any church is about community. The film is tired and trite, but they're terrific, every last one of them. [10 Dec 1993, p.53]
    • Boston Globe
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    Wendy
    Wendy feels like a holding maneuver — a way for a gifted young storyteller to keep one foot in the innocence of childhood while figuring what he’s really going to do next.
  6. The Craft
    Carrie meets Clueless, with a few good campy moments, some attractive cinematography, and an entertainingly lurid performance by Fairuza Balk, whose mascara, lipstick and spikey dog collar give the movie a decidedly Vicious (Sid, that is) twist. [03 May 1996, p.52]
    • Boston Globe
    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    Emma.
    It’s still a clever-clever cartoon version of the book, with broad physical business in place of wit and Austen’s insights on gender roles and social hypocrisy tossed overboard. But I guess if the Empire waists are high enough and the male leads strappingly repressed, nothing else really matters.
  8. Free Guy
    Sometimes Free Guy expands on its predecessors, just as often it doesn’t. In such an uninspired movie summer, derivativeness may not be as much of a problem, and the movie does have its moments.
  9. Tenet
    Moviemaking doesn’t come any tauter or with more velocity. But that confusion is a warning. It’s going to apply to the entire movie; and the longer “Tenet” lasts, the more of an issue confusion becomes.
  10. The Woman Who Loves Giraffes
    The documentary loses a bit when Dagg returns home, and an alarmingly perky score doesn’t help. Late in life, after her tenure struggles, she published a new edition of her dissertation and found herself rediscovered.
  11. Corpus Christi
    Even when events get intense, even violent, and they do, there’s nothing abrupt. Corpus Christi never erupts. It unfolds.
    • 74 Metascore
    • 63 Reviewed by
      Ty Burr
    Sylvie's Love
    This is more than retro, it’s a re-imagination of the past, of the stories and role models that could have been available to Black audiences (and white ones) but weren’t. Better late than never.
  13. Respect
    The turbulence of the life and the wondrousness of the talent are an irresistible combination. Striking a balance between the two isn’t easy, but at its conclusion Respect finds a way to bring together woman and artist in a way that does justice to both.
  14. The Guardian
    The Guardian, based on a Dan Greenburg novel, is more suspenseful than most of the movies made from King's books. One reason is that Friedkin allows a certain weight of ominousness to accumulate, being in no hurry to let us know exactly what specific form the threat will take, or even from whom it will come. [27 Apr 1990, p.33p]
    • Boston Globe
  15. The Rookie
    There's action aplenty in The Rookie, but director and star Clint Eastwood supplies his tired cop-buddy formula with an oddball tone that lifts it slightly above the genre. [07 Dec 1990, p.53p]
    • Boston Globe
    • 47 Metascore
    • 63 Reviewed by
      Ty Burr
    Irresistible
    Irresistible is a movie of the moment. Unfortunately, that moment is 2015.
  17. Candyman
    Acute and skillfully made, Candyman is also pointedly political.
    • 78 Metascore
    • 63 Reviewed by
      Ty Burr
    Kajillionaire
    July may have lost all faith in the strategies of the parents' generation but holds out hope for the future. I think this may be her idea of a family film.
    • 79 Metascore
    • 63 Reviewed by
      Ty Burr
    Black Bear
    With Black Bear, Plaza pushes her talent into raw new places.
  20. Worth
    This is not the most promising dramatic material — legal and actuarial material, yes, dramatic, no. Yet Worth manages to combine process and emotion in a way that works.
    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    Lucky Grandma
    She (Tsai Chin) and she alone makes the movie worth your time. Written by Angela Cheng and Sasie Sealy and directed by Sealy, Lucky Grandma is a low-budget labor of love that’s very funny until you realize it has no idea where it’s going.
  22. The Courier
    Assured and well made (Dominic Cooke directed), The Courier offers bits of tradecraft — Penkovsky photographing documents with a miniature camera, a special tie clip used as identity-establishing bona fide — and a high-stakes extraction plan gets put in motion. But it’s less about what gets done than the persons doing it.
  23. Tesla
    A subplot involving Sarah Bernhardt (Rebecca Dayan) seems to have wandered in from another, less watchable movie. It might have been for the best if Eve Hewson, as J.P. Morgan’s daughter and Tesla’s sort-of love interest, had wandered out.
    • 56 Metascore
    • 63 Critic Score
    Minions: The Rise of Gru
    The movie is fun: The music is unironically good...But with this many characters, the audience doesn’t spend enough time with any of them to allow for the emotional payoff the other movies in the franchise offer.
  25. Stillwater
    The quality of the acting makes it easy to overlook how increasingly leaden Stillwater becomes — but not easy enough.
  26. Memoria
    Memoria isn’t a film about explanation. You get caught up in it. You don’t ask why. You don’t wonder what’s going on, what will happen next. You just accept it. You trust Weerasethakul. Until about the 100-minute mark (the runtime is 136 minutes), he justifies that trust. Then things begin to falter.
    • 73 Metascore
    • 63 Reviewed by
      Ty Burr
    On the Rocks
    It’s an agreeable diversion.
  28. The Souvenir: Part II
    Fortunately, both Souvenir films have two signal virtues: Hogg’s style and their star.
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    Extraction
    A meat-and-potatoes action movie that manages to extract the charisma from one of our most likable sides of beef.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Uncorked
    Both leads are excellent; you expect as much from Vance but the surprise is the quietly charismatic Athie, who gives his role shades of geniality, ambition, frustration, and pig-headedness.
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