Boston Globe's Scores

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For 7,950 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: 5,231 out of 7950
  2. Mixed: 1,554 out of 7950
  3. Negative: 1,165 out of 7950
7950 movie reviews
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    • 58 Metascore
    • 50 Reviewed by
      Ty Burr
    To the Wonder
    The director’s first real misfire, a meditation on love and lost paradise that starts with breathtaking assurance and slowly crumbles into self-parody.
    • 52 Metascore
    • 50 Reviewed by
      Ty Burr
    The Monuments Men
    It’s a great story, and much of it’s true. This should work like a pip. Instead, The Monuments Men is a tonal mishmash: Half “Hogan’s Post-Doctoral Heroes,” half “Saving Private Rembrandt,” and half “Ingres’s 11.” That’s three halves, so you can see the problem.
  3. Let My People Go!
    You don’t have to be Jewish to love borscht belt humor, or gay to love camp, or French to love farce. But when all three are thrown into a blender with a dollop of generic family dysfunction, as is the case in Let My People Go!, oy vey doesn’t begin to address the result.
    • 35 Metascore
    • 50 Critic Score
    The Last Exorcism Part II
    Once the “what is real, what is fantasy” questions are answered, and exorcism part deux commences, The Last Exorcism Part II abandons its half-intelligent, tender exploration of Nell’s vulnerability and desirability
  5. Machete Kills
    Rodriguez does a fair job of keeping the zaniness coming: Vergara’s machine gun bra, Gibson delivering exposition in a “Star Wars” prop, bad guys offed by helicopter blades in dementedly creative ways. It’s enough that you’ll hope Rodriguez makes good on that new faux trailer — for “Machete Kills Again . . . in Space.”
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    The Call
    You’ve seen pieces of this movie in “Psycho,” “Silence of the Lambs,” and 2004’s “Cellular.” Still, the early scenes in the Hive give The Call a needed novelty: It’s a workplace drama, and the work is responding to other people’s desperate worst-case scenarios.
  7. Emperor
    When MacArthur stands side by side with Hirohito (Takatarô Kataoka), it’s the ultimate in victor-vanquished encounters. That’s also true whenever Jones shares a scene with Fox.
    • 60 Metascore
    • 50 Reviewed by
      Ty Burr
    The Iceman
    Director/co-writer Ariel Vromen has made a grimly passable crime drama in the sub-“GoodFellas”/“Sopranos” vein, and if you’re looking for something to order up on a slow Saturday night, it’ll do.
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    At Any Price
    Bahrani is brilliant at small gestures and the way they can speak volumes, but in At Any Price he’s aiming for grand tragedy, and he doesn’t yet have the knack. The pacing of the final act is uncertain; the epic sweep doesn’t arrive.
  10. Jobs
    If one were to compare this film to one of Jobs’s own products, it would be more like the Cube than the iPod.
    • 49 Metascore
    • 50 Reviewed by
      Ty Burr
    The Fifth Estate
    The Fifth Estate is itself the response of an entrenched and corporatized information system toward something it barely comprehends. It makes a media format that has sustained us for decades — the two-hour movie — feel like a 20th-century dinosaur.
  12. Grudge Match
    Stallone and De Niro simply don’t generate enough combative spark to make this anything more than an amiably mediocre diversion.
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    Trance
    With Trance, story becomes just another element in Boyle’s commercial pop-Cubism, and the results are nearly fatal.
  14. The Lords of Salem
    There are echoes of Roman Polanski’s “Rosemary’s Baby” in all of this that are impossible to miss.
  15. The Evil Dead
    Although idiotic, The Evil Dead at least is propelled by energy and enthusiasm. It's scarier than many a more pretentious effort, and not everything in it is borrowed. [8 Oct 1983, p.Arts1]
    • Boston Globe
  16. Phantom
    The crew doesn’t much look the part either, save for Schaech’s Stalin ’stache. Yet the movie does show the ability to get past this, even with the weight of all its narratively risky conspiracy theorizing. It’s a shame the intrigue has to get torpedoed by elements that mostly feel correctable.
  17. No Place on Earth
    Fascinating but frustrating.
  18. The Silence
    The Silence is a victim of over-plotting, clunky narrative, gratuitous stylization, and too many points of view. When any character quirk or story turn shows promise, depend on some ill-considered directorial decision to put a stop to it.
  19. Girl Rising
    The idea behind Girl Rising is strikingly simple and even more strikingly imaginative.
  20. In the House
    After all the mesmerizingly illicit buildup, the film’s willful lack of a payoff is almost as strange as one of those essays.
    • 33 Metascore
    • 50 Reviewed by
      Ty Burr
    Annie
    The unforced cleverness of the opening scenes gives way to lazy plotting, awkwardly staged musical numbers, and car chases. By the end, the movie resembles just another formulaic, family-friendly piece of product, one the kids will enjoy and you’ll endure as it goes in the DVD player for the 40th time.
    • 42 Metascore
    • 50 Reviewed by
      Ty Burr
    Transcendence
    There’s a lot of intelligence in Transcendence. Ironically, almost all of it feels artificial.
    • 60 Metascore
    • 50 Reviewed by
      Ty Burr
    Mandela: Long Walk to Freedom
    The movie is extremely well produced, it features two excellent lead performances, and it is dull.
  24. Populaire
    Despite hard-working performances and the occasional sexual frisson from ingénue Déborah François (a kind of French Renée Zellweger) and seductive Romain Duris (who looks like Tom Hanks by way of Montgomery Clift), Populaire hits mostly wrong keys.
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    Haute Cuisine
    Haute Cuisine proves the limits of cinema: It’s a movie that needs Taste-o-Vision.
  26. Kevin Hart: Let Me Explain
    Few comedians talk so much to get a laugh, and sometimes the strain shows... And the directors don’t do him any favors by the annoyingly frequent close-ups of audience members in convulsions of laughter.
  27. Maniac
    This remake, like Frank’s horrible hobby, remains an exercise in empty repetition.
    • 49 Metascore
    • 50 Reviewed by
      Ty Burr
    Riddick
    This is back-to-basics stuff, which turns out to be not such a bad idea.
    • 37 Metascore
    • 50 Reviewed by
      Ty Burr
    Only God Forgives
    Only God Forgives is the kind of remarkable disaster only a very talented director can make after he finds success and is then allowed to do whatever he wants.
  30. Aftershock
    Though offering some chilling twists on the usual conventions, employing wit and restraint where otherwise the filmmakers might have relied on the contents of an abattoir, Aftershock is ultimately predictable in its litany of who lives and who dies, and doesn’t try to be too ironic or self-reflexive about it.
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