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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  1. Identity
    It's an exasperating exercise in B-movie hokum and screenwriter's gimmickry.
  2. The Lost City
    Sometimes it works — let’s say 12 percent of the time — and The Lost City can actually be deft and imaginative. Unfortunately, that leaves 88 percent which doesn’t.
    • 69 Metascore
    • 50 Reviewed by
      Ty Burr
    Patriots Day
    At best, it's unnecessary. At worst, it's vaguely insulting.
    • 58 Metascore
    • 50 Reviewed by
      Ty Burr
    Francis Ford Coppola Presents: The Legend of Suriyothai
    The movie is both stunning on the level of visual pageantry and curiously inert as cinema.
  5. Hitler's Children
    The moral weight of Hitler's Children is unmistakable. So is that weight's inertness.
  6. Ghost in the Shell
    Or maybe Major, like Oedipus, is really searching for herself? Do people even have selves? Are identities and souls just a bunch of clichés spun out by teams of screenwriters? If these questions interest you, do yourself a favor and watch the 1995 original movie.
    • 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.
  8. The Children Act
    The Children Act isn’t all that interesting a movie, despite the many talented people involved and the generally high level of work they do. The most interesting thing about it is how it presents a case study in the very different way style can determine what works on the screen vs. what works on the page.
  9. All I See Is You
    What emerges from this pretentious if diverting mishmash is a story that is equally predictable and contrived, but nonetheless offers some worthwhile insights into the notion of the male gaze and the subjugation of women.
  10. Eating Out 2: Sloppy Seconds
    This sequel, with the return of the first movie's insatiably slutty Los Angeles collegians, is as vulgar as its predecessor and just as almost-smart.
  11. Ender's Game
    It comes down to this: Which is more important, the innocence of a child or the survival of the species? And if the race survives, will it just become like the enemy aliens that must be destroyed to do so?
    • 75 Metascore
    • 50 Reviewed by
      Ty Burr
    On the Run
    This payback-revenge storyline, told mostly at night with minimal dialogue, is tense but familiar, and Bruno's quick-draw costume changes are fun to watch.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    Flash of Genius
    The problem with Flash of Genius isn't that the subject is dull but that the movie is.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    One from the Heart (re-release)
    The movie looks great and sounds better, and its status as a pioneering work of cinematic eye candy seems secure. For one thing, it's hard to imagine ''Moulin Rouge'' without it. As a movie about recognizable human beings, however, One From the Heart remains a failure.
  15. Tommy's Honour
    A climactic contest takes place in arctic weather that would rival any New England Patriots playoff game. Had the filmmakers drawn more on this rowdy, hardy spirit, not to mention the hirsute gravitas of Peter Mullan, it might have done justice to its legendary subjects.
  16. Fatal Assistance
    Fatal Assistance has few answers, and adds little clarity.
  17. Ben-Hur
    That Morgan Freeman voice! It’s so rich and full and authoritative that even when he’s telling Judah, “OK, OK,” you almost believe people used that word in the year 33. If they were very progressive.
  18. Passionada
    A cheery version of a darker, grislier movie, one in which people like Daniel beat up people like Charlie, girls like Vicky end up in far more compromising positions, and women like Celia turn to Scotch and prescription drugs to cope with their pain.
  19. Nomad
    The filmmakers don't appear to know what's important, let alone how to pace an epic for big drama and maximum thrills.
  20. Labyrinth of Lies
    Underneath its mea culpas lies a subtext that exonerates the post-Third Reich generations of its past.
    • 52 Metascore
    • 50 Reviewed by
      Ty Burr
    Elsa y Fred
    Elsa & Fred does graze against an interesting idea: that the vitality of our youths lives on in the prison of aging bodies.
  22. Chicken Run: Dawn of the Nugget
    Chicken Run: Dawn of the Nugget isn’t a bad movie; it’s just an unnecessary one. Whoever thought audiences would be clamoring for the sequel to a 23-year-old film with such a satisfying ending to its story must have been out of their clucking mind.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Mike and Dave Need Wedding Dates
    Mike and Dave Need Wedding Dates lopes along with bumptious likability but no real energy, urgency, structure, or wit.
    • 34 Metascore
    • 50 Reviewed by
      Ty Burr
    The War with Grandpa
    Not that terrible, but dispiritingly generic — the kind of off-brand, cable-ready product that functions as advertised but could have been cast with anybody other than some of the most unique and celebrated performers of their generations.
    • 74 Metascore
    • 50 Reviewed by
      Ty Burr
    Love, Gilda
    With all that good will and with an abundance of source material, why does the documentary Love, Gilda feel like such a disappointment? It’s fine for casual viewers: you’ll come away reasonably satisfied if you want to catch up on the basics of Radner’s life and career while having your nostalgia gently stroked.
  26. Thérèse
    The film looks great, boasting all the elegant period details that are expected in tasteful French adaptations of treasured national literature, with beautifully photographed Bordeaux landscapes and luxurious interiors. As for the human element, however, the mood is more apathetic than tragic.
  27. Quick Change
    As a performer, Murray moves through the film with a lovely doomed aplomb. And his quick verbal wit is almost enough to pull Quick Change off. But as a director, his inexperience costs him. His camera isn't as quick as his tongue. [13 Jul 1990, p.29]
    • Boston Globe
    • 53 Metascore
    • 50 Reviewed by
      Ty Burr
    The Book of Eli
    The Book of Eli is “The Road’’ with twice the plot, four times the ammunition, and half the brains; it’ll probably make 10 times the money.
  29. The Tomorrow Man
    Their (Danner/Lithgow) being together feels more like a device — there’d be no movie without their relationship — than it does a romance. There’s a lack of chemistry that makes for a listlessness of narrative.
  30. Breaking Upwards
    The film gets stronger and more involving as the drama gets heavier and the couple’s rift grows.
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