Boston Globe's Scores

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For 7,948 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: 5,230 out of 7948
  2. Mixed: 1,553 out of 7948
  3. Negative: 1,165 out of 7948
7948 movie reviews
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    • 51 Metascore
    • 63 Reviewed by
      Ty Burr
    The Face of Love
    The result isn’t a great movie, but it is an excellent guilty pleasure.
  2. God's Pocket
    Best, probably, to appreciate the movie for what Slattery, Hoffman, and the cast do most effectively: craft a pervasive atmosphere of tired people trudging through tired circumstances that only seem to grow more, well, tiring.
  3. Everyone's Hero
    Everyone's Hero is sincere and heartwarming; sometimes it's funny.
  4. The Gods Must Be Crazy II
    No less than the first film, this new effort is both disarmingly sweet and politically appalling. [13 Apr 1990, p.48p]
    • Boston Globe
  5. Irreversible
    Noe's summation is an ideological sucker-punch from a filmmaker who gets off on abusive relationships. He may as well have thrown a big ''whatever'' up on the screen.
  6. Risen
    As played by Fiennes, who has the aquiline face and piercing eyes of Max Van Sydow, Clavius is no pushover. You believe his disbelief, so when it wavers, yours might as well.
  7. Transporter 3
    The thrill of the ridiculousness is gone. So is all the mystery that made Statham so appealing in the first place.
  8. Saint Ralph
    As predictably uplifting movies go, Saint Ralph isn't completely charmless.
  9. DysFunktional Family
    More vulgar than funny.
  10. The Road to El Dorado
    Less than memorable.
  11. What Lies Beneath
    Ford and Pfeiffer deliver craftsmanlike work, but the film steadily unravels as Zemeckis tries to ratchet up the suspense.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Nobody Walks
    Sensitively written, nicely shot, expertly acted, and intelligently ambiguous, Nobody Walks still manages to send you out with a shrug.
    • 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.
  14. The Grinch
    The result is a reworking that feels both unnecessary and uninspired, even if it’s too genial and visually captivating to be flat-out off-putting.
    • 51 Metascore
    • 38 Critic Score
    That Demon Within
    There’s a half-realized, half-haunting Hitchcockian psychodrama buried somewhere within That Demon Within. What’s on the surface plays more like Wong and Lam simply forgot to take their meds.
  16. Poison Ivy
    Poison Ivy isn't that much of a film. But part of its charm is that it doesn't pretend to be. It is, however, a great showcase for Drew Barrymore, as bad-news jailbait. [26 Jun 1992, p.29]
    • Boston Globe
    • 51 Metascore
    • 12 Reviewed by
      Ty Burr
    Finding Amanda
    Finding Amanda, unfortunately, is one vast, irritating surface.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Dumbo
    Dumbo flies! The movie, sadly, never soars.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Rough Night
    What’s nice about this movie, actually, is that you can get a few shameless laughs out of it and then forget you saw it at all.
  20. Peter Rabbit
    If the freneticism gets repetitious, the target audience won’t mind, at least not judging by a preview crowd’s delirious reaction to a recurring electrified-doorknob gag.
    • 51 Metascore
    • 63 Reviewed by
      Ty Burr
    Wild West Comedy Show: 30 Days & 30 Nights - Hollywood to the Heartland
    The movie's amiable, impulsive, intense, and scattershot, and since those are qualities associated with Vaughn himself, in the end it's a fair representation.
  22. Doomsday
    Marshall reveals himself to be a terrific showman of chaos and comic savagery. This is Baz Luhrmann's "Mad Max."
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    The Hard Word
    Wonderful characters, these three, and The Hard Word never figures out what to do with them.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Johnny English
    Adding to the general air of ''What the hell?'' is Australian pop singer Natalie Imbruglia as Lorna, the beautiful superspy who falls for our hero. With Lorna's help, Johnny discovers that Sauvage is plotting to take over the British throne -- the Battle of Hastings wasn't good enough, it seems.
    • 51 Metascore
    • 38 Reviewed by
      Ty Burr
    White Irish Drinkers
    All the good intentions in the world can't save White Irish Drinkers from playing like the baldest of retreads.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Where'd You Go, Bernadette
    Mishandles Maria Semple’s best-selling comic novel into a clattery mess. There are deftly human moments to be found, but you have to dig for them like potatoes.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Woman in Gold
    The production design is swank, the score impassioned. We should be riveted. Instead, you may feel you’ve seen this movie before, and, in a sense, you have: Woman in Gold plays remarkably like 2013’s “Philomena” with a change of cast and a different historical outrage.
  28. The Promotion
    A good, occasionally insightful workplace comedy.
    • 51 Metascore
    • 38 Critic Score
    My Bloody Valentine
    Lussier stages his movie not so much around nail-biting moments as novel ways to fling entrails at his viewers. But if you take pleasure in such mindless gore, there must be worse ways to spend 100 minutes.
    • 51 Metascore
    • 63 Reviewed by
      Ty Burr
    Savage Grace
    A chilly inquest into very bad behavior, Savage Grace is presented to us like an entrée at a five-star French restaurant. It's decadence under glass.
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