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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    • 61 Metascore
    • 50 Critic Score
    First Blood
    Ted Kotcheff's First Blood is a cute, slick anti-Vietnam war film carefully treated to go down for the pro-war constituency it's made for. [23 Oct 1982]
    • Boston Globe
  2. Hit and Runway
    A mildly diverting gay-straight odd couple comedy that has just enough bright one-liners to carry it past its plot structuring.
    • Boston Globe
    • 53 Metascore
    • 50 Reviewed by
      Ty Burr
    Knight of Cups
    Lubezki is arguably this movie’s secret star, and he invests the movie’s Los Angeles settings with the strangeness and newness of a NASA rover traveling across Mars.
  4. Cop Out
    Cop Out seems aptly named. It’s not personal. It’s barely even a movie. It’s a fire hydrant that the director and his stars use for exterior shots.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Casino Jack
    Glib, fast-paced entertainment that barely leaves a mark - which, given the subject, is just plain wrong.
    • 56 Metascore
    • 50 Critic Score
    CQ
    Triumphs over its own trendiness only by being vapid and superficial.
  7. The Smurfs 2
    That the mushroom-dwelling blue creatures still manage to be endearing even in their second big-screen extravaganza (in 3-D, no less) is about the best that can be said of The Smurfs 2.
  8. Biker Boyz
    It's too long and self-consciously progressive to be entertaining, but it's too well-intentioned to be dismissed altogether.
    • 64 Metascore
    • 50 Reviewed by
      Ty Burr
    Downsizing
    The film’s ultimate message — help other people, basically — is, while useful and necessary, dramatically rather slack, and you notice with a shock that the film’s central conceit has almost entirely dropped off the table by the final third. Payne’s microcosm is so like our macrocosm that after a while he simply forgets to make the distinction.
  10. Assassin's Creed
    The effect is less video-game-turned-movie than zombie movie minus zombies: stilted, static, s-l-o-o-o-w. The ending couldn’t set up a sequel more clearly if “To be continued” appeared on a title card. Don’t count on it. Game on? Game over.
  11. Somewhere
    I can't say why Coppola wanted to spend time with this man. It's like following someone on Twitter who fails to generate many compelling tweets.
  12. Man of the House
    So light it should wind up on the ''diet" shelf of the video store.
  13. The Longest Yard
    Everyone in this overstaffed showbiz sampler has been better somewhere else. An assortment of talented comedians, character actors, professional athletes, sports commentators, one rapper, and two former sitcom stars sit in this movie like too much food on a buffet cart.
    • 34 Metascore
    • 50 Reviewed by
      Ty Burr
    The Dark Tower
    The movie makes me finally want to test-drive one of the “Dark Tower” novels, if only to see what King himself was able to bring to the party. Maybe that’s been his evil plan all along.
    • 43 Metascore
    • 50 Critic Score
    Step Up Revolution
    Don't roll your eyes just yet. Step Up Revolution, enhanced by 3-D and set in glitzy Miami, is not as cringe-worthy as you would expect from the fourth "Step Up" installment.
    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    Frankie
    Ira Sachs’s muted family drama has locations to make a moviegoer swoon, rich music and cinematography, acting that’s attentive and wise. All that’s missing is a story.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    Everything's Gone Green
    It's a charming disappointment that retains the elements that make the writer's novels so good without ever bending them into cinematic shape.
    • 49 Metascore
    • 50 Reviewed by
      Ty Burr
    Live by Night
    Affleck the screenwriter seems to have dumped the story onto the kitchen table and pushed it around like dough, hoping for some shape to emerge. It resists.
  19. Mermaids
    Frankly, Mermaids is the kind of movie that needs the strong personalities of Cher and Ryder, and is lucky it has them. They put the movie over. It has a weak script, and the direction by Richard Benjamin - who had two predecessors on this project - is so reticent as to be almost absent. There's almost no pacing or shaping to speak of. [14 Dec 1990, p.53P]
    • Boston Globe
  20. The Last Stand
    Kim doesn't sweat interweaving his story threads in any tightly controlled way. Just when the need-for-speed stuff really starts to gain traction, he'll shift for a surprisingly lengthy stretch to comic relief with the deputies and local wacko Johnny Knoxville.
    • 69 Metascore
    • 50 Critic Score
    Sunshine State
    There is almost no drama, nor any surprise, in this long effort.
    • Boston Globe
  22. Sacrifice
    Sacrifice wants to have it both ways. It's willing neither to give itself up to the goofy sincerity of genre conventions nor to make the demands on viewers that serious drama requires. The sacrifices Chen's characters make would signify that much more if he'd made a sacrifice or two himself.
  23. The Inheritance
    The actors give it their best, Thomsen and Werlinder in particular.
  24. Rare Exports: A Christmas Tale
    Finnish filmmaker Jalmari Helander's dark-comic expansion on his cult Internet shorts, in which he crafts a back story for Santa that's as black as stocking coal.
  25. Bride & Prejudice
    In attempting to show us a love blind to class, culture, and color, she's (Chadha) also made it bland.
  26. The Words
    The Words aspires to depths greater than the sex we never see these two have. There's nothing for the eye to do while the ear fills with the banalities of two streams of narration, one by Dennis Quaid, the other by Jeremy Irons, all of it built around a lie.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    The Extra Man
    Everyone in the film is an uninteresting grotesque.
    • 39 Metascore
    • 50 Reviewed by
      Ty Burr
    Life as We Know It
    Life as We Know It gives bland and predictable a good name.
  29. Country Strong
    Paltrow makes the part look natural. She's not impersonating an actual singer, so she seems merely like a twangy, alcoholic version of herself. She should be stopped from dancing in enormous arenas, but her thin voice is rather pretty.
  30. Salt
    Jolie doesn't seem entirely bored with the routine. She has a laugh or two at her bionic image: Evelyn is a woman who uses a maxi pad as a bandage.
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