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. Crimes of the Future
    Crimes of the Future works better as sort-of treatise than sort-of thriller. It’s a paradoxical thing to say about a filmmaker as intensely visual as Cronenberg, but his ideas are even more shocking than his images.
  2. Moonage Daydream
    Morgen’s immersive, sometimes convulsive, visual approach justifies the format. This is filmmaking that’s anything but chaste. Intentionally overwhelming, “Moonage Daydream” is indulgent and overproduced — which suits its subject.
  3. When Boys Leave Home
    It's a morality play, full of hopeless tosh. Still, Hitchcock manages to include a hallucination sequence and a highly suggestive spurt from a soda siphon. [12 Jan 2020]
    • Boston Globe
      • Posted Apr 30, 2025
  4. Three Thousand Years of Longing
    Even if it ultimately doesn’t quite take off, it’s a marvel of craft and care and detail. It’s also not quite like anything else.
  5. Stars at Noon
    Stars at Noon trades too much on a tradition of older, maybe not better but certainly more urgent movies. Somewhere deep, deep in its heart is the memory of Jane Greer and Robert Mitchum.
  6. Catherine Called Birdy
    Ramsey is close to a force of nature, equally skilled at conveying Birdy’s curiosity, humor, orneriness, and not-infrequent bewilderment. In other words, she’s a 14-year-old.
  7. Corsage
    Despite the film’s tendency to drag, Vicky Krieps remains compulsively watchable, as always. She almost saves the movie.
  8. The Eight Mountains
    The look of the film is so spectacular that I almost want to recommend you see it solely for that reason. It wasn’t enough to save the film for me.
  9. Beast
    To the movie’s credit, it tries to balance action and thrills with domestic conflict. Perhaps not surprisingly, the family stuff feels seriously subsidiary to the scary stuff. Beast is going through the motions with father-daughter tension. The humans-as-prey tension, that’s a different story.
  10. McEnroe
    The documentary doesn’t give the sense of McEnroe as a person that Douglas’s film does. But it gives a rather astonishing sense of him as a player. With all due respect to those other McEnroe guises, that’s the one that matters.
  11. See How They Run
    Whenever Ronan’s not on the screen, “See” seems to lose something. It’s no mystery why.
  12. Sidewalk Stories
    Lane does know how to photograph his own interesting, large-eyed face to potent effect. He's an appealing talent, and Sidewalk Stories is a likable film. Beyond novelty value, it also finds modern ways of making contact with the very real feel for poverty that was so much a part of the early Chaplin films. [21 Sep 1989, p.60]
    • Boston Globe
  13. Oppenheimer
    What I can say for sure is that Oppenheimer far too often feels like a three-hour Wikipedia entry than a compelling movie.
  14. The Good Boss
    Once the comedy does kick in, around the 100-minute mark, it does so quite nastily. The movie never quite recovers.
  15. Book Club: The Next Chapter
    Imagine my surprise when I discovered that Book Club: The Next Chapter was not only watchable but occasionally amusing.
  16. Quest for Camelot
    Quest for Camelot is easy to sit through and reasonably entertaining. Certainly it should satisfy its target audience. But Warner really needs to journey more boldly toward a personality of its own and offer a real alternative. [15 May 1998, p.D5]
    • Boston Globe
  17. The Inspection
    Bratton’s unique perspective is so much more interesting when you hear him talk about The Inspection that you often wonder where it is when you’re watching it.
  18. The Good Nurse
    The Good Nurse is at its best as a medical police procedural. It helps that Noah Emmerich and Nnamdi Asomugha, playing the cops, give solid, understated performances.
  19. Enola Holmes 2
    Enola doesn’t just break the fourth wall. She tickles it, winks at it, and tugs at its sleeve. With another actress, this would be annoying. With Brown, it’s charming.
  20. Is That Black Enough for You?!?
    Black Enough is smart, lively, and sprawling.
  21. Return to Seoul
    Throughout the eight years covered by writer-director Davy Chou’s latest, Return to Seoul, Freddie will alienate the people around her and, by extension, the viewer.
  22. Elemental
    With its preachy, dull love story between a boy made of water and a girl on fire, Elemental should have been called “Guess Who’s Coming to Disney.”
  23. Johnny Handsome
    Johnny Handsome may lapse into downbeat formula, but its acting is pungent, and, in the case of Barkin and Henriksen, as immediate as a razor slash. [29 Sep 1989, p.34]
    • Boston Globe
  24. Deadpool & Wolverine
    Ridiculous even by superhero standards, it remains more or less coherent.
  25. Challengers
    It’s not that any of the actors are bad. Zendaya has a screen authority that goes way beyond that imperious look. It’s just that none of them is especially compelling.
  26. Madonna: Truth or Dare
    Although Truth or Dare makes you wish it had dug more deeply, it nevertheless convinces you that there's more to Madonna than the stage personas she sheds like skins. It's as much an exercise in packaging as in documentary, but at least the package isn't empty. [17 May 1991, p.29]
    • Boston Globe
  27. The Ref
    More outrageousness, less sentimentality and eagerness to please would have been welcome. But while The Ref isn't falling-out-of-your-seat funny, it uncorks a steady supply of laughs. It's a throwback to those Disney movies of the '80s that used to star Bette Midler. And it strikes a blow against forced holiday jollity. [11 Mar 1994, p.67]
    • Boston Globe
  28. Scream VI
    The scariest thing about Scream VI isn’t seeing someone get knifed in the face 600 times; it’s this movie’s absurdly inaccurate depiction of New York City.
  29. Twisters
    Though “Twisters” lives up to the sequel maxim of being louder, larger, and busier, director Lee Isaac Chung (“Minari”) and screenwriter Mark L. Smith don’t deviate from the first film’s formula. Watching the sequel is like playing Mad Libs with the original’s plot.
  30. A Thousand and One
    A more fleshed-out character might have grounded a last act burdened by an unconvincing plot twist, an odd moment of wish-fulfillment, and an over-reliance on the clichés that befall Black people in urban-set films.
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