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. The Worst Person in the World
    Visually, it’s the experience of falling in love turned inside out. “The Worst Person in the World” is showing how it looks to feel like the only couple in the world.
  2. Turning Red
    From the texture of red panda fur to the detailing of a Toronto streetcar, “Turning Red” is a feast for the eyes. But the plotting, dialogue, and characters aren’t quite up to the studio’s standards.
  3. Lost Illusions
    A good movie, Lost Illusions aspires to be a great one, but that ambition helps keep it from being a better movie. It’s overstuffed and a mite too leisurely: a self-consciously dignified film whose least dignified characters are its most compelling ones.
  4. The Lost Daughter
    [Gyllenhaal’s] direction is unemphatic without ever being tentative, and she’s made a film with a relaxed, easy rhythm — but not too easy.
  5. Belfast
    Lyrical and episodic, Belfast is often affecting, if far too sentimental.
  6. The Baby-Sitters Club
    The Baby-Sitters Club is far from an unalloyed success, but it offers more pluses than minuses and is both gentle and instructive. [18 Aug 1995, p.50]
    • Boston Globe
  7. Moonfall
    There are moments watching it when you can’t help but think of “Don’t Look Up” (comet, moon, whatever). Honestly, though, “Moonfall” is more fun, even if far less substantial and nowhere near as much talent went into making it.
  8. Julia
    Julia, a brisk documentary survey of Julia Child’s life, is warmly admiring. This makes sense, as there’s lots to admire.
  9. Marcel the Shell with Shoes On
    So “Marcel” is sweet, it’s charming, it’s clever. It’s also about as long an 89 minutes as you’re likely to spend in a movie theater this summer.
  10. Whitney Houston: I Wanna Dance With Somebody
    It’s refreshing that Lemmons focuses on the highs rather than the lows, even if it feels like buffing off the edges of her complex protagonist. But that won’t matter to Houston fans: They’ll get so emotional, baby.
  11. Don't Worry Darling
    Darling never quite ignites. The closest it gets to ignition is Pugh’s performance. Styles is perfectly fine, but it’s her movie.
  12. Benediction
    Benediction has at least three things in common with its immediate predecessor, “A Quiet Passion” (2016). Both are biographies of poets, Siegfried Sassoon and Emily Dickinson, respectively. Both are suffused with great feeling. And despite having much to recommend them, both don’t really work.
  13. The Good House
    Thanks to its two leads, The Good House very much succeeds as character study. As narrative, it doesn’t fare anywhere near as well.
  14. The Tender Bar
    It’s amiable and unpretentious, if also slack and diffuse.
  15. Ambulance
    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.
  16. A Journal for Jordan
    Journal is Canedy’s story, but it’s Michael B. Jordan’s movie. Stalwart, quietly forceful, he seems positively . . . Denzelian.
  17. Munich: The Edge of War
    Tight close-ups, jittery hand-held camera — lots and lots of jittery hand-held camera. The idea, presumably, is to impart urgency, immediacy, dynamism. Instead it causes visual exhaustion.
  18. Lucy and Desi
    Overall “Lucy and Desi” is very much a valentine.
    • 68 Metascore
    • 63 Critic Score
    A Quiet Place: Day One
    The film includes the standard escalating horror set pieces — one occurs on fiery scaffolding, another inside a different flooded subway — that grow repetitive in their oscillating bouts of tension and release. But Nyong’o and Quinn manage to keep the film anchored in connection.
  20. Cha Cha Real Smooth
    All the actors are very good, though Raiff, who’s in almost every scene, can get a little wearying with his combination of high energy and touch of winsomeness.
  21. Guillermo Del Toro’s Pinocchio
    GdTP starts out pretty slow and doesn’t speed up for far too long — it’s the rare movie that might accurately be described as more imaginative than good — but the occasional bit of inspiration like the tree-branch proboscis encourages the viewer to hang on. It’s a nose job like no other.
  22. Master
    Open-endedness in a narrative can be a good and challenging thing; or it can be a sign of having gotten in too deep and not being able to figure out how to get out. “Get Out” knew how to get out. “Master” doesn’t.
  23. Thirteen Lives
    The heart of the movie is the discussions among the divers and, even more, the scenes in the caves. Simply as a technical achievement, the underground and underwater filming is highly impressive.
  24. Emily the Criminal
    What Emily the Criminal really is is a character study; and this is where Plaza comes in. She’s the really good thing the movie has going for it. Over the course of 96 minutes, Emily will do some surprising things. Plaza makes them seem as natural as swiping a credit card, and in both senses of the verb.
    • 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.
  26. Both Sides of the Blade
    The unhurried pace Denis maintains insures that the subplots feel less like distractions than a nod to the contradictoriness of daily life.
  27. Hustle
    This is a movie that’s definitely got game. But what’s richest and best about Hustle is how, yes, it’s a character study. It’s not in the same league as “Hoop Dreams” or “High Flying Bird” or even “Hoosiers” (1986) — what is it about basketball-movie titles and the letter “h”? — but it’s smart and agreeable and, emotionally, it gives a true bounce.
  28. All the Old Knives
    The filmmaking is stylish yet impersonal — or can true style be impersonal? Maybe that’s why proficiency is a better word. A general slickness obtains.
  29. Till
    Till avoids all flash. That makes it a bit didactic at times, but didacticism is a form of commitment: not so much political, though there’s certainly that, but also to emotional truth and simple human decency.
  30. White Bird
    Mirren holds the film together with her narration, but she can’t save the film from Forster’s penchant for overdoing emotional scenes or from Thomas Newman’s intrusive score.
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