Boston Globe's Scores

For 7,949 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 0.9 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:
7949 movie reviews
  1. When Fennell swaps in her adult actors, the cracks start showing immediately. While strikingly attractive on their own, Elordi and Robbie have zero romantic chemistry.
  2. The movie would benefit from spending even more quiet moments with Glover.
    • 55 Metascore
    • 75 Reviewed by
      Ty Burr
    Anne Hathaway's Jane is headstrong and clever, balanced and true.
  3. The movie, though, is nonsense. At its most credible, the story evokes fond memories of the adult drug narcs hiding among American high schoolers on ''21 Jump Street."
  4. This is as safe and sweet a movie as you could make about America’s sex-drugs-and-rock ’n’ roll-est event.
  5. Takes on provocative and stimulating subject matter, but can't bring it into satisfying dramatic focus, stranding three strong actors who are superior to their material.
  6. Part of the trouble is casting. This is a movie that needs a great or gonzo performer to give it depth or heft.
    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    Breezily enjoyable for about 10 minutes, until you realize the entire movie is going to be pitched at the same exuberantly manic pace. It's like being trapped in an elevator with a performing poodle that doesn't know when to quit.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    Unlike "Tree" or "2001," Cloud Atlas offers more answers than it does questions, and by the end of its nearly three-hour running time - which flies by surprisingly fast, all things considered - it feels like the most feverishly expensive late-night college bull session ever. There are glories here, but they fade in the light of day.
  7. This is all a long way of saying that the best way to better understand the man who made those and dozens of other movies is simply to see them. There's no case to be made for a mangy shortcut like Hitchcock. It's all surface and formula.
  8. If most boxing movies are about redemption, Resurrecting the Champ is a boxing movie that goes to exasperating lengths to redeem its boxing writer.
  9. In a year when black filmmaking has surged with Oscar-touted films such as “The Butler” and the upcoming “12 Years a Slave,” Murray’s Things Never Said has a quiet eloquence of its own.
    • 55 Metascore
    • 38 Reviewed by
      Ty Burr
    I don't know if I've ever seen a movie as spectacularly tone-deaf as Hyde Park on Hudson.
  10. One wants to find enlightenment - or at least entertainment - in this reconsideration of Playboy and of Hefner. But it's tainted.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    Old
    Old is a fiendish idea only partially realized.
    • 55 Metascore
    • 75 Reviewed by
      Ty Burr
    Tim Burton has got his groove back.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    Watching Eagle vs Shark is like sitting next to a terminally awkward first date at a restaurant. You cringe and feel protective toward the poor, sweet dweebs at the same time.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    By itself, the new "Pelham" is a solid, suspenseful tale all over again, so long as it stays in the subway tunnels and airless offices of the transit department.
    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    At its strongest cataloging the sheer sensory overkill of the festival -- the faces, the food, the many roads to bliss. Only the slightest historical information is offered and no spiritual background whatsoever.
  11. With more character development this might have been an eerie thriller; with better payoffs, it could have been a thinking man's monster movie.
    • 55 Metascore
    • 88 Reviewed by
      Ty Burr
    A comedy, and for all its cliches and clumsiness, close to a great one.
  12. Street Kings is nonsense, and yet the crooked, racialized world underneath the soulless mayhem is pretty fascinating.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    An acceptable time-waster for a slow day in a movie theater or a slow night on cable. But it never makes you mad as hell, so what’s the point?
    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    It’s content to keep things light and predictable, with the result that one of the richest song catalogs known to man is here to prop up an increasingly formulaic and far-fetched love story. Yesterday makes less sense the longer it lasts, albeit with some good bits along the way.
  13. The movie is what it is: relentless, shameless, and purely as an exercise in technique almost dementedly skilled. A Bay explosion explodes, a Bay collision collides, and Ambulance has both in abundance. For some viewers, the result will be 2 hours and 16 minutes of movie heaven. It might make others want to call for an ambulance.
  14. The Boogeyman becomes an exercise in diminishing returns, though it is not without its pleasures.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    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.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    What's missing here is the one thing any duffer knows you need: Focus. The Greatest Game Ever Played works so hard to convince you of the truth of its title that it never settles down to address the ball.
  15. 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
  16. Based on her short film, Candler’s Hellion pads its slender, commonplace, but potentially rewarding premise with contrivances, clichés, repetitiousness, and, when all else fails, implausible, arbitrary melodrama.

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