Boston Globe's Scores

Select another publication »
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
view
per page
    • 69 Metascore
    • 50 Reviewed by
      Ty Burr
    Wilbur Wants to Kill Himself
    Wants to be as shocking as its title, but it doesn't have the nerve.
  2. Wimbledon
    Wimbledon is refried "Notting Hill" with a Teen People glaze. The latter movie also gave us an American star cheering up some tired British guy. Wimbledon is blander and far less worth rooting for.
  3. Touch of Pink
    An hour and a half of cultural and sexual headaches only barely leavened by MacLachlan's performance.
  4. Bubble Boy
    There's always been room for rudeness in humor. In fact, it can be invigorating. But Bubble Boy goes through the motions of being outrageous when all it's really got is a rage to conform to formula.
  5. Cheaper by the Dozen
    Martin puts a thankless gloss on the antic role he played in "Parenthood." As his wife, Hunt is the movie's saving grace.
  6. Fat Albert
    In the end, it's hard to see a real reason for the movie's existence. We already have Muppets.
    • 59 Metascore
    • 50 Reviewed by
      Ty Burr
    I, Robot
    A stylish, watchable, very familiar future-cop action thriller. What was once original is now almost completely derivative.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    Troy
    At its intermittent best, Troy suggests a primitive pro-wrestling smackdown with epochal consequences. At its worst, it's a throwback to the ham-fisted sword-and-sandal international coproductions of the early 1960s: "The 300 Spartans" with better sets. Barely.
    • 62 Metascore
    • 50 Reviewed by
      Ty Burr
    The Life Aquatic with Steve Zissou
    The film's meta-fey title alone is an example of why some people adore Anderson and why he drives others absolutely crazy.
    • 38 Metascore
    • 50 Reviewed by
      Ty Burr
    Blade: Trinity
    One of the prime laws of the multiplex states that any action or horror movie series will devolve into ritualized violence, self-mocking camp, and egregious silliness by part three. Blade: Trinity is right on schedule.
    • 41 Metascore
    • 50 Reviewed by
      Ty Burr
    Meet the Fockers
    What a waste.
  12. Mission: Impossible
    It'll be a test of whether Cruise's star power and De Palma's ability to seduce audiences with visual style can compensate for a fundamental hollowness at the center. Mission: Impossible plays like a project trying to become a movie and not quite making it. [22 May 1996, p.63]
    • Boston Globe
  13. Mrs. Winterbourne
    The script is a little too clunky to serve Ricki Lake well, and Richard Benjamin's direction is a bit too sluggish to disguise her limited range as he crams this romantic fairy tale a little too forcefully into its predetermined mold. [19 Apr 1996, p.53]
    • Boston Globe
  14. Grumpy Old Men
    The trouble with Grumpy Old Men is the patronizing attitude -- ageism, really -- that takes a too-broad approach to their geriatric world and renders it plastic. It is too cute and sanitized to allow its performers much in the way of opportunity.
    • Boston Globe
  15. Fear
    Fear is a formulaic thriller that is like "Cape Fear" meets "Fatal Attraction," or "Splendor in the Grass" on crack, but without a hint of those movies' psychological complexities and camp moments. [12 Apr 1996]
    • Boston Globe
  16. I Love You to Death
    while not without pleasures, I Love You to Death essentially seems a film in search of a tone. [06 Apr 1990]
    • Boston Globe
  17. Green Card
    Despite its lush photography, Green Card has the texture of peanut butter. It's more romantic than comedic, but there isn't an abundance of either. [11 Jan 1991]
    • Boston Globe
    • 75 Metascore
    • 50 Critic Score
    An Officer and a Gentleman
    An Officer and a Gentleman has so many echoes that it never finds its own voice. [29 Jul 1982]
    • Boston Globe
  19. Against All Odds
    It begins promisingly.... But the film has no center, succumbs to drift, and gets away from Hackford. [03 Mar 1984]
    • Boston Globe
    • 94 Metascore
    • 50 Critic Score
    Stop Making Sense
    But as good as it is, the film falls short of translating the exaltation and near-gospel music feel of the band in full flight. [2 Nov 1984]
    • Boston Globe
    • 73 Metascore
    • 50 Critic Score
    Something Wild
    After an hour of biting charm, Something Wild turns into something else. In a twist that turns the movie into a silly story of violence, Demme surrenders his style to a stupid plot. [7 Nov 1986]
    • Boston Globe
  22. The Hudsucker Proxy
    The movie seems destined to win a place in the nocturnal-cityscape-hell hall of fame. Its externals are brilliant, but The Hudsucker Proxy is virtually nothing but externals. [25 Mar 1994, p.52]
    • Boston Globe
  23. High Heels
    Mostly it's Paredes' imperious - then surprisingly generous - high-handedness that carries High Heels. [20 Dec 1991]
    • Boston Globe
  24. Jefferson in Paris
    But despite the vibrancy of its images and the exquisiteness of its craftsmanship, Jefferson in Paris doesn't often light a fire under its material. [07 Apr 1995]
    • Boston Globe
  25. M. Butterfly
    Cronenberg's direction is technically impressive, but he's better suited to stories based on surges of feeling between killers, not lovers. This M. Butterfly never takes wing. [08 Oct 1993]
    • Boston Globe
  26. Naked Lunch
    Cronenberg hasn't so much filmed Naked Lunch as tamed it, turned it into entertainment, with oozy rubber bugs, big and little, that look left over from David Lynch's movie of "Dune," or the intergalactic dive from "Star Wars." [10 Jan 1992]
    • Boston Globe
    • 77 Metascore
    • 50 Critic Score
    Body Heat
    Lawrence Kasdan's Body Heat--an homage to film noir--gets off to a nice start before it becomes entangled in its convoluted and somewhat uninteresting plot machinations.
    • Boston Globe
  28. Jacob's Ladder
    The strength of Jacob's Ladder is that we never know what the next scene will be. But that's also its weakness. We don't feel involved with the characters here. We just feel jerked around. Jacob's Ladder, finally, is bummer theater. [2 Nov 1990, p.73]
    • Boston Globe
  29. Girl 6
    The enormously appealing Randle holds the screen even when the thinness of Suzan-Lori Parks' script becomes inescapably apparent. There isn't much vigorous narrative pulse, complexity or even faceting of Randle's character, and the arbitrary ending seems both forced and inconclusive. [22 Mar 1996, p.53]
    • Boston Globe
    • 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
Page:

Top Trailers

See all »
See all trailers »