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. She's So Lovely
    When the chemistry isn't there - and it mostly isn't - the actors and film seem merely self-indulgent, despite the obvious devotion with which She's So Lovely was made. [29 Aug 1997, p.C3]
    • Boston Globe
    • 28 Metascore
    • 50 Critic Score
    The Haunting of Molly Hartley
    Molly Hartley is dull at worst and surprisingly spooky at best.
  3. I Saw the Devil
    But that ending is a whopper all the same: a heartless blast of tragedy, exploitation, amusement, and general flagrance.
  4. Waking the Dead
    It's too fragmented and diffuse to ever bring its parts together in any really satisfying manner.
  5. Where's My Roy Cohn?
    The biggest problem with Where’s My Roy Cohn? is the documentary’s attitude toward its subject: not that it’s critical (an uncritical approach to Cohn would be about as interesting as a daytime visit to Studio 54), but that it so thoroughly accepts his view of himself.
  6. Mansome
    It's a movie so late in noticing a shift in American male grooming that for a documentary on the subject to work, Spurlock would either have to pitch it to our grandparents (or be a grandparent) or trace the arc of the shift and unpack it.
  7. Look Who's Talking
    Before long, it runs out of steam, playing like the pilot for a TV sitcom called "Baby Knows Best." [13 Oct 1989, p.37]
    • Boston Globe
    • 46 Metascore
    • 50 Critic Score
    Evangelion: 2.0 You Can (Not) Advance
    Like a surly teen pilot, you, too, might find yourself bored and muttering, “Honestly, maybe the fate of humanity and the world isn’t important to me, either.’’
  9. A Walk Among the Tombstones
    The problem with this adaptation of Lawrence Block’s detective yarn isn’t that it casts Neeson in a role we’re seeing him play again and again. It’s that no one else in the movie makes a character feel nearly as broken-in and fully inhabited as he does.
    • 62 Metascore
    • 50 Reviewed by
      Ty Burr
    I Sell the Dead
    A sweet, splattery bit of in-jokery; if it’s not actually a good movie, on some level you have to admire the chutzpah of a film set in 1850s Ireland but shot on Staten Island.
  11. The Last Song
    A more convincing star could make this a degree more tolerable, although in Cyrus’s defense not much more.
    • 36 Metascore
    • 50 Critic Score
    Graffiti Bridge
    Like Purple Rain, the record/film that made Prince a superstar, Graffiti Bridge is a hodgepodge musical that has a few satisfying bits - and a lot of sharp music - but fails as a narrative. [03 Nov 1990, p.22p]
    • Boston Globe
    • 65 Metascore
    • 50 Reviewed by
      Ty Burr
    Hostiles
    Despite the film’s length and aspirations, its anthropological correctness and historically accurate gore, Bale’s transformation from stone killer to empathetic ally is unconvincing.
  14. 7 Days in Entebbe
    A serviceable thriller that might have been something more.
  15. Shirley
    Despite an impressive pedigree in front of and behind the camera, “Shirley” fails to convey just how remarkable the career of Shirley Chisholm really was. The problem isn’t the narrow focus on one of her accomplishments, it’s the even narrower depiction of who she was as a person.
  16. Unleashed
    Doing nothing special, Freeman manages to make the picture seem wiser, funnier, and more eloquent than it is.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    The Odd Life of Timothy Green
    It's the sort of thing you'll either find enchanting or an excellent reason to reach for the Scotch.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    The Equalizer
    This Equalizer is a brooding, brutal origin tale, one that starts well but steadily caves into genre clichés. It’s a B-movie sheep in A-movie clothing, acceptable meathead mayhem as long as you know what you’re paying for.
  19. Shag
    A sweet, gentle film with a personality problem. The problem is that it hasn't got enough personality to keep from being overwhelmed by the echoes of other films it evokes. [21 July 1989, p.21]
    • Boston Globe
  20. Sleepwalking
    The movie seems terrified of true psychological complexity or perversity. It's less a family tragedy than a lousy country dirge.
    • 20 Metascore
    • 50 Reviewed by
      Ty Burr
    An American Carol
    Ultimately, the problem with An American Carol is the problem with far too much political discourse in this country, left or right: It highlights the worst excesses of the opposition for the sole purpose of discrediting the vast middle.
  22. God Bless America
    Some of this vigilante-fantasy misbehavior is wickedly funny.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Herbie Fully Loaded
    Blandly noisy and inoffensively average.
  24. Presumed Innocent
    Presumed Innocent is interesting to the extent that it goes beyond the usual whodunit and courtroom drama formulas and shows how nobody really has clean hands. [27 July 1990, p.29P]
    • Boston Globe
  25. My Super Ex-Girlfriend
    Runs out of fresh ideas about how to make its heroine look nuts.
    • 60 Metascore
    • 50 Reviewed by
      Ty Burr
    SPECTRE
    I know the opening credits for a James Bond movie are supposed to be silly, but the start of Spectre achieves almost orgasmic levels of kitsch.
  27. Duck
    Writer-director Nic Bettauer can't decide whether to play Duck for tears or laughs.
    • 44 Metascore
    • 50 Critic Score
    Dudley Do-Right
    Never gets horribly bad, but can't sustain its moments of inspiration either.
    • 45 Metascore
    • 50 Reviewed by
      Ty Burr
    Pirates of the Caribbean: On Stranger Tides
    To press the point, there is absolutely no need for a fourth Pirates of the Caribbean.
  30. Beverly Hills Cop: Axel F
    “Axel F” is a joyless affair, a mediocre simulacrum that made me long for the original.
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