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. Everybody's Fine
    Once it’s clear the movie won’t be deviating at all from its formula, Frank’s journey gets tedious.
  2. Pink Cadillac
    Pink Cadillac, you might say, is low on gas. [26 May 1989, p.43]
    • Boston Globe
  3. November
    Offers cliches instead of chills.
  4. 44 Inch Chest
    It’s a stagy, half-entertaining, half-tedious acting competition between five excellent Englishmen.
  5. Just Like Heaven
    Just Like Heaven suggests that a post-coma Elizabeth might understand what life is truly all about. Of course, if being alive means having to live in this movie, maybe she was better off the way she was.
  6. Mr. Jones
    No matter how hard Richard Gere huffs and puffs, his performance as the hunky manic-depressive known only as "Mr. Jones" won't blow you away. Bouncing foolishly from super-duper euphoria to catatonia and back, Gere expends too much energy to ever be believable. [8 Oct 1993, p.56]
    • Boston Globe
  7. The A-Team
    As lifeless and unneeded as The A-Team is, it might have been worse.
    • 47 Metascore
    • 63 Reviewed by
      Ty Burr
    The Passion of the Christ
    Seems to be exactly the movie Mel Gibson wanted to make as an abiding profession of his traditionalist Catholic faith. On that score it is a success.
    • 47 Metascore
    • 63 Reviewed by
      Ty Burr
    Just Friends
    Funnier than any low-rent rip-off of "There's Something About Mary" has a right to be. It's crass, it's unsophisticated, it aims right for the slapsticky pleasure center of the under-30 moviegoer's brain. So sue me, I laughed. A lot.
  10. Phyllis and Harold
    Phyllis and Harold is really about Phyllis and how discontent has a way of spilling, then spreading. Kleine never quite says so, but her mother’s life was a tragedy.
    • 47 Metascore
    • 38 Reviewed by
      Ty Burr
    Hey Arnold! The Movie
    The ugly duckling of Nickelodeon's after-bath lineup. That's its strength.
  12. The Other Side of the Bed
    Sexual doublespeak is everywhere.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Anything But Love
    Like many of us who cherish the safe harbor of old movies, Rose and Cary mourn the fact that they don't make 'em like they used to. If they'd paused to ponder why not, they might have a better movie.
  14. Nostalgia
    The film can be naggingly vague and patchily written where precision seems called for, but the familiar procession keenly digging into the wistful material does hold interest.
  15. In Secret
    That’s the key to this movie — the way Thérèse looks at things; it’s a rare film that focuses on a woman actually looking and how she responds to what she sees.
  16. Predator 2
    Downey's cameo is one of the few unexpected - even terrorful - moments in this entirely pedestrian sequel, which like its predecessor is almost but never quite frightening. [21 Nov 1990, p.38P]
    • Boston Globe
  17. Black Rock
    It’s all a fair attempt, but Aselton isn’t going to make anyone forget Kathryn Bigelow.
    • 46 Metascore
    • 50 Reviewed by
      Ty Burr
    Around the Bend
    The result is a curious hash: warmly funny in the comic scenes and shamelessly sentimental during the sad bits, of which there are many.
  19. The Dilemma
    Howard never decides on tones that complement each other, and the dissonance is jarring.
    • 46 Metascore
    • 63 Reviewed by
      Ty Burr
    Gringo
    It’s a twisty dark comedy in the action-suspense vein, piled high with talented actors playing cretinous fools and featuring enough betrayals, mistaken identities, and narrative switchbacks to keep you pleasurably befuddled.
    • 46 Metascore
    • 25 Reviewed by
      Ty Burr
    Wonder Wheel
    Wonder Wheel, Allen’s new film, is one of the Very Bad Ones. Set in a post-WWII Coney Island that glows with the hues of popsicles at sunset, it’s a strained adultery melodrama that appears to have been written poorly on purpose, as a sour parody of 1950s theatrical clichés.
  22. Now You See Me 2
    “2” is as flashy and splashy as the original. Both also register right up there on the implausibility scale — that’s like the Richter scale, only with head scratching — but “2” has a lighter touch and more interesting settings. Macau and London, here we come.
  23. Miss Julie
    Figgis's film doesn't match its reach.
  24. The Dead Pool
    The Dead Pool is not a subtle movie or a bloodless one, although it does manage to put its own twist on the usual car chase sequence. [13 Jul 1988, p.59]
    • Boston Globe
  25. Red Tails
    The movie is so desperate to be palatable, to appeal to everybody that it doesn't taste like anything.
    • 46 Metascore
    • 38 Reviewed by
      Ty Burr
    Burke and Hare
    If anything, Burke & Hare is a slaphappy mess that recalls Landis's earliest work on 1970s midnight movies like "Schlock'' and "The Kentucky Fried Movie.''
    • 46 Metascore
    • 50 Critic Score
    Evangelion: 2.0 You Can (Not) Advance
    Like a surly teen pilot, you, too, might find yourself bored and muttering, “Honestly, maybe the fate of humanity and the world isn’t important to me, either.’’
  28. The Flowers of War
    The Flowers of War is the latest movie focused on the Nanking atrocities. Lu Chuan's "City of Life and Death'' was released in the United States last year and presented a far greater, grimmer, and more punishing re-creation of the sacking.
  29. Flirt
    Flirt has its moments, and Ewell and Nikaidoh are auspicious additions to the Hartley rep company. But Flirt will appeal mostly to Hartley completists. [23 Aug 1996]
    • Boston Globe
    • 46 Metascore
    • 50 Reviewed by
      Ty Burr
    Deliver Us from Eva
    Dawdles amiably and can't quite decide what it wants to be.
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