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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  1. Anonymous
    The moviemaking is proficient, if unremarkable. I like the idea of an Elizabethan action movie apparently more than I enjoy watching one.
  2. Jack Reacher
    This movie is the height of by-the-book dullness.
  3. Romeo Is Bleeding
    One of the big problems with Romeo Is Bleeding is its voiceovers. Gary Oldman, as the crooked cop protagonist, drowns in them like quicksand. [4 Feb 1994, p.54]
    • Boston Globe
    • 50 Metascore
    • 75 Reviewed by
      Ty Burr
    Super
    Smart, sick, and subversive, Super gives you what you want only to make you wonder why you want it.
  5. French Kiss
    French Kiss is a French miss. It's got the settings, but it has little magic, less charm and almost no chemistry between Meg Ryan's heartsick American innocent and Kevin Kline's shady Frenchman. [5 May 1995, p.57]
    • Boston Globe
  6. Always
    You expect virtuosic technique from Spielberg, and it's there, in spades. What you don't expect is heartfelt romanticism. But that's there, too... Always is a terrific-looking throwback to those large-scale '40s cinematic stews of romantic longing. [22 Dec. 1989, p.43]
    • Boston Globe
  7. Disenchanted
    How much you enjoy yourself depends on whether you’re a fan of the original, or of Amy Adams.
  8. Kung Fu Yoga
    The movie’s best bits come when Tong’s script eases up on banter and clunky Indy homages and instead simply indulges in random zaniness.
  9. Life with Mikey
    Life with Mikey is awfully easy to take, thanks mostly to Fox's breezy charm. [4 June 1993, p.51]
    • Boston Globe
  10. Kill the Irishman
    The best thing about the picture (unless you like exploding cars, in which case the rest of the movie is just so many interruptions between getting to see all these big old '70s boats going boom) is its proudly hammy supporting cast.
    • 50 Metascore
    • 63 Critic Score
    City by the Sea
    The movie will be remembered primarily for the huge, emerging talent of James Franco, who plays De Niro's troubled son.
  12. Cadillac Man
    Cadillac Man isn't perfect, but it's got enough peppy lowlife turmoil under its hood to pass most of what's on the road these days. [18 May 1990, p.77p]
    • Boston Globe
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    True Story
    True Story, which leads with its chin from the title on down and which turns a startling tale of true crime and false identities into a heavy-breathing drama that, ironically, fails to convince.
  14. I Give It a Year
    Though Mazer’s ambition is laudable, he has not yet integrated the comedy of manners into the comedy of no manners.
  15. Maze Runner: The Death Cure
    Where we hoped for a narrative rebound, we get instead another pedestrian, overlong post-apocalyptic entry that fails to capitalize on some decent character dynamics.
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    Happy Feet Two
    Little kids, of course, will swallow it whole without thinking twice.
  17. The Shadow
    The Shadow is more a triumph of window-dressing than cinema. It's dress-up, not drama, but it's a pile of style. [01 Jul 1994, p.49]
    • Boston Globe
    • 50 Metascore
    • 63 Reviewed by
      Ty Burr
    The Water Diviner
    This big, brawny historical drama feels more personal to its maker as both an artist and an Australian. For better and for worse, the movie’s a labor of love and of national identification.
  19. Final Destination 5
    Stabs at the dramatic don't amount to anything that makes us care, even for Bell, who has been solid on AMC's "The Walking Dead'' and in the chairlift chiller "Frozen.'' But genre fans who have been thirsting for gore via acupuncture needles or a LASIK machine should get their giddy fill.
  20. The Marvels
    DaCosta, who helmed the much-maligned 2021 reboot of “Candyman,” keeps the plot moving so quickly that I had little time to question much of it.
  21. No Strings Attached
    The film is also packed with enough sharply scripted screwiness from Adam's roommate (Jake Johnson), Emma's roomie (Greta Gerwig), and others to keep viewer impatience to a minimum.
  22. Young Guns
    Fusco's script undercuts whatever freshness it may have brought to its view of Billy the Kid with a steady stream of howlers, most of which involve Kiefer Sutherland, as the sensitive member of the gang. [12 Aug 1988, p.24]
    • Boston Globe
  23. Closed Circuit
    Instead of all-seeing, it’s more like seen it all before.
    • 50 Metascore
    • 63 Reviewed by
      Ty Burr
    A.C.O.D.
    Scott’s probably the perfect actor for this, since he’s too likably lightweight to suggest any emotion more crippling than exasperation.
  25. For Colored Girls
    It's too much too-much. The audience I saw it with didn't seem to know whether to clap when it was over or start taking Lipitor.
  26. Spare Parts
    Aside from the clever punning of the title, Spare Parts ends up as jury-rigged and programmatic as Stinky, the robot in the movie. And, unlike Stinky, it is dead in the water.
    • 50 Metascore
    • 63 Reviewed by
      Ty Burr
    Armored
    A movie like Armored has been done better in the past. But it has also been done much, much worse, and Antal knows enough not to mess with the sturdy bones of the thing.
  28. Now and Then
    Sweet, but slight. [20 Oct 1995, p.52]
    • Boston Globe
  29. Hit and Run
    Put Christian Bale behind the wheel, and Hit & Run would make a billion bucks - except then there'd be no room for Shepard, and that movie would hardly be worth watching.
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    Freeheld
    At the end, under the closing credits, Freeheld shows us photos of the real Hester and Andree, and we sense an immediacy the rest of the film lacks. These are the people we want to watch and not a movie simulacra, no matter how capably performed and earnestly felt.
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