Boston Globe's Scores

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For 7,949 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 0.9 points 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 7949
  2. Mixed: 1,554 out of 7949
  3. Negative: 1,165 out of 7949
7949 movie reviews
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    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    Facing Windows
    Beautiful to look at and acted with full and tempestuous conviction, it still seems to be taking place in an apartment far across the way.
    • 52 Metascore
    • 50 Reviewed by
      Ty Burr
    Rick
    Everything about this curio is claustrophobic.
  3. Daredevil
    Daredevil the movie strains itself trying to catch up with Sam Raimi's web-slinging megasmash. It's a faceless copy, right down to the muscle-rock groaning on the soundtrack.
    • 44 Metascore
    • 50 Critic Score
    Dudley Do-Right
    Never gets horribly bad, but can't sustain its moments of inspiration either.
  5. Mostly Martha
    If there's nothing here for romantics, there's even less for gourmands. Nettelbeck fails to produce a good food metaphor, let alone an impressive, palate-aching preparation montage
  6. Walking Tall
    Walking Tall, which is credited to four different writers, is wanting for a reason to be.
    • 58 Metascore
    • 50 Reviewed by
      Ty Burr
    Shanghai Knights
    So appallingly slipshod in all the usual departments is this sequel to the engaging martial-arts comedy Western ''Shanghai Noon'' that you're tempted to cite its makers for contempt.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    The Ladykillers
    The loosest, silliest, broadest thing the Coens have yet committed to celluloid, and that includes "Raising Arizona," one of this critic's favorites.
  9. Scooby-Doo
    This dog will inevitably let down purists looking for the elusive combination of smart and funny.
    • 49 Metascore
    • 50 Reviewed by
      Ty Burr
    Callas Forever
    In sum, a big, honking tutti-frutti sundae of a movie that nonetheless is shot through with authentic feeling.
  11. Blow
    Blew its chance to be an epic drug opera. It's only nostril-deep.
    • Boston Globe
  12. Burnt Money
    Hopped up on standard action riffs, most of the film feels like hand-me-downs purchased from the John Woo outlet.
  13. The Reckoning
    The movie has none of the embarrassing absurdity and cheap effects that made last year's trip back to the 14th century, "Timeline,'' such a joke. We should be so lucky. Instead, we get a listless avenger drama.
  14. Undertow
    It's an exercise in 1970s mood. But all the film does is conjure, channel, and allude, until there's really no movie of Green's own for an audience to grab onto.
  15. Levity
    Freeman and Hunter are both overqualified for material this ponderous, but she plays along, while he appears to have made a minimal emotional investment in the oncoming avalanche of coincidences and cliches.
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    White Oleander
    The people who've made White Oleander appear to have spent a lot of time worrying about the audience. They should have told the story and let us take care of ourselves.
  17. What Lies Beneath
    Ford and Pfeiffer deliver craftsmanlike work, but the film steadily unravels as Zemeckis tries to ratchet up the suspense.
  18. The Man Who Cried
    The imagery is lush, but the story is pretty cornball, with an ending that can only be called pure Hollywood. Only the marvelous Cate Blanchett transcends stereotype.
    • Boston Globe
    • 30 Metascore
    • 50 Critic Score
    Thirteen Ghosts
    A formulaic script, a tired plot -- and uninspired dialogue all point up the real star. It's the house,
    • Boston Globe
    • 34 Metascore
    • 50 Reviewed by
      Ty Burr
    The Haunted Mansion
    It is spectacularly average. Neither an inspired reimagining nor a painful dud,
  21. What's the Worst That Could Happen?
    Supposed to be a cheeky little lark but instead runs a narrow gamut from labored to aimless.
    • Boston Globe
  22. Along Came Polly
    There is no central drama, no surprise, no tension in his comedy. The ads for Along Came Polly make it look so upbeat and simple that you're convinced it must be hiding something, like death or a disease. But the truth is there in the advertising: nothing happens.
  23. Agent Cody Banks 2: Destination London
    Muniz has better secret-agent toys to play with, funnier lines and sidekicks helping him out, and a bit more discerning director in Kevin Allen ("The Big Tease").
  24. Drive Me Crazy
    Gets by on the watchability of its young stars.
  25. 21 Grams
    Long on mood and moodiness, but at a loss as how to break any interesting human ground.
    • 74 Metascore
    • 50 Reviewed by
      Ty Burr
    Red Lights
    Primarily a one-man show for Darroussin, and the actor, a longtime pro in the French film industry, comes through with a scarifyingly believable portrayal.
  27. Waking the Dead
    It's too fragmented and diffuse to ever bring its parts together in any really satisfying manner.
  28. Valentin
    Narrated from start to close by an 8-year-old, it often seems like a coloring book on tape.
    • 57 Metascore
    • 50 Critic Score
    Faster
    In the end, promotion, as good as it may be, doesn't make for a real documentary. Faster is a kind of bone-crushing fun, but there's little drama and certainly no insight.
  30. The Inheritance
    The actors give it their best, Thomsen and Werlinder in particular.
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