Boston Globe's Scores

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For 7,947 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: 5,229 out of 7947
  2. Mixed: 1,553 out of 7947
  3. Negative: 1,165 out of 7947
7947 movie reviews
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  1. Project Almanac
    One of the advantages of time travel in a found-footage film is that it makes the chronology and causality so confusing that the problem of who’s shooting what becomes secondary. On the other hand, it doesn’t allow fast-forwarding through all the boring bits. For starters, I could have done with far less Lollapalooza.
  2. The Prince and Me
    This is a smart piece of revisionist fluff that dares to question what happens after the royal honeymoon is over.
  3. Man on Fire
    Man on Fire is ponderous and bloated, dragging the Bible and Giannini into its swirling cesspool. Scott can't give the movie any real emotional weight. And Washington gives his first lifeless performance.
    • 47 Metascore
    • 38 Reviewed by
      Ty Burr
    Silver City
    As it is, the movie only shudders to life when Dickie Pilager's onscreen.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Herbie Fully Loaded
    Blandly noisy and inoffensively average.
  6. Godzilla x Kong: The New Empire
    The problem with “Godzilla x Kong: The New Empire” is the same as so many of these franchise-based films: They’re all soulless special-effects extravaganzas where CGI takes the place of character development, good writing, and emotional connection.
  7. The Game of Their Lives
    What the cast members lack in sharpened skill they more than make up for in raw gusto and athletic scrappiness (most of the actors have logged a lot of soccer in their pasts). These guys give a sport that is virtually nameless in the movies a good name in this one.
  8. Maniac
    This remake, like Frank’s horrible hobby, remains an exercise in empty repetition.
    • 47 Metascore
    • 63 Reviewed by
      Ty Burr
    Heaven Is for Real
    While Heaven Is for Real asks a lot of questions, it ultimately has no doubt whatsoever about the answers. Take it on faith or not at all.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    The Giver
    The movie runs an hour and a half. Lowry’s book can be read in less than a day. It still gives anyone — child or adult — more than enough to wrestle with.
  11. Wyatt Earp
    Kevin Costner's epic Wyatt Earp literally and figuratively gives you more of the legendary lawman than any of the other famous movies about him. [24 Jun 1994, p.47]
    • Boston Globe
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Monogamy
    Monogamy sets up a nifty idea that it doesn't follow through.
  13. The Alto Knights
    When we’re not being fed warmed-over narration and editing tricks that remind us of the Scorsese-directed examples, we’re trapped with a visibly disinterested De Niro. He barely gives one performance, let alone two.
    • 47 Metascore
    • 38 Reviewed by
      Ty Burr
    Blair Witch
    The upshot is that Blair Witch comes to the party very late and very tired, and it doesn’t improve from there.
  15. The Skeleton Key
    It has the wild, rancid atmosphere of a garbage bag that a raccoon has ripped open.
  16. Hotel Transylvania
    Some might say there isn't enough that's fresh here to recommend the movie in a big way, except that every generation of trick-or-treaters deserves its monster mash.
    • 47 Metascore
    • 63 Reviewed by
      Ty Burr
    Rock of Ages
    The movie has its cheesy pleasures, and some of them are even intended. I'm just not sure whether Tom Cruise's impersonation of Axl Rose is one of them. 
  18. The X Files: I Want to Believe
    The truth is, indeed, still out there. And when Carter finds it, may he heed its wisdom: Let go.
  19. The Good Guy
    It’s network television drama, starring actors best known for their TV work and full of the petty gripes and mild worries of characters who really have nothing compelling to worry about.
    • 47 Metascore
    • 75 Reviewed by
      Ty Burr
    Like Mike
    I don't want to sell Like Mike as something it's not. It's a cash-in, all right - just better written, more tightly edited, sharply performed, and a little more heartfelt than most.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Hollywood Homicide
    One of the most lazily scripted, poorly structured, smugly stereotyped star vehicles in recent memory. Bizarrely, this seems to be the point.
  22. Cats & Dogs
    The effects are so showy, and so relentless, that they call attention pretty quickly to the fact that there is not much else to Cats and Dogs.
    • 47 Metascore
    • 38 Critic Score
    Big Trouble
    Juggles so many stories and characters, nothing ever develops into more than a rough sketch.
    • 47 Metascore
    • 63 Reviewed by
      Ty Burr
    The Alamo
    The real struggle in The Alamo is between historic revisionism and Hollywood notions of sacrifice, and it's not much of a contest: Hollywood wins, as it did in John Wayne's sprawling, factually spurious 1960 film.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    The Odd Life of Timothy Green
    It's the sort of thing you'll either find enchanting or an excellent reason to reach for the Scotch.
    • 47 Metascore
    • 63 Reviewed by
      Ty Burr
    Semi-Pro
    The problem with Semi-Pro is that it keeps forgetting it's a parody of sports movies; the final scenes are supposed to be uplifting (sort of) but they're not fooling anyone. The film's much better when it just lets the guys gas and sass each other.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    The Witches
    It’s rated PG, but trust me, it’ll give younger kids the screaming meemees.
  28. Perrier's Bounty
    Perrier’s Bounty is all stock material, full of characters that deserve more than the cliched shootouts and showdowns that befall them. Even the movie’s most natural impulses seem to come from a can.
  29. My Stepmother Is an Alien
    It falls far short of the lighthandedness, whimsy and feeling it needs to override its slightness. You keep wanting to like it, to match the good will coming out of the actors, but the writing keeps shoving its fabricated nothingness in your face. [09 Dec 1988, p.36]
    • Boston Globe
  30. Lakeview Terrace
    The movie might have something to say about black racism, but the conversations go nowhere, and the cliches of the genre take over.
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