Boston Globe's Scores

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For 7,948 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: 5,230 out of 7948
  2. Mixed: 1,553 out of 7948
  3. Negative: 1,165 out of 7948
7948 movie reviews
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  1. The Last Days on Mars
    Last Days aspires to the kind of no-frills, psychological terror of Duncan Jones’s brilliant “Moon” (2009) but, despite some determined performances, settles for the clichés of the abortive “Apollo 18” (2011).
  2. Addicted
    Things bottom out when Zoe not only hooks up with another lover (there is not an ounce of body fat in this movie), but also misses her son’s soccer game. And up until then we were all having a good time.
  3. Son of God
    For the most part, though, the film maintains its low ambitions; it is mostly inoffensive, only occasionally ludicrous, and at times, at least for me, genuinely moving.
  4. Gone Girl
    Perhaps Flynn, who did the adaptation, has been a little too faithful to her novel. The faux-punchiness of her dialogue doesn’t help matters. The characters sound like people trying to sound like people in the movies and not quite pulling it off.
  5. One Chance
    David Frankel’s film reduces an extraordinary life to a predictable template of bullying, resolve, success, disappointment, and platitudes — a pattern repeated two or three times until the genuinely moving finale.
  6. Go for Sisters
    Though fitfully entertaining, it lacks the conviction and urgency present in even the weakest of his quasi agit-prop productions.
    • 49 Metascore
    • 50 Reviewed by
      Ty Burr
    Live by Night
    Affleck the screenwriter seems to have dumped the story onto the kitchen table and pushed it around like dough, hoping for some shape to emerge. It resists.
  8. The Purge: Anarchy
    Give credit to writer-director James DeMonaco for at least attempting to give his action thriller some heft with a plot that concerns our obsession with violence, ham-fisted as it is. But The Purge: Anarchy is still just an excuse to bombard us with high-powered weaponry, armored vehicles, vigilantes, and masked marauders in creepy Joker-like makeup.
  9. Gimme Shelter
    Gimme Shelter is sometimes moving and inspiring, but you have to wonder: Though Kathy and her movement give teenagers shelter, do they give them a life?
    • 44 Metascore
    • 50 Reviewed by
      Ty Burr
    This Is Where I Leave You
    It’s entertaining enough if you turn your brain off.
  11. Cesar Chavez
    Plays more like an exercise in nostalgia than a dramatic re-creation of a triumphant fight for civil rights.
    • 64 Metascore
    • 50 Reviewed by
      Ty Burr
    St. Vincent
    So it is with St. Vincent, which might be Murray’s “Gran Torino” if you squint at it from one angle, or “Old Meatballs” if you come at it from another.
    • 34 Metascore
    • 50 Reviewed by
      Ty Burr
    The Mummy
    Because the movie’s carrying a heavy load of corporate expectations, it gets pulled in different directions by competing agendas before eventually collapsing into incoherence.
  14. The Boy Next Door
    It will also make them laugh. Intentionally or not, director Rob Cohen (“Alex Cross”) has put together the most hilarious camp classic since “White House Down” (2013).
    • 62 Metascore
    • 50 Reviewed by
      Ty Burr
    Veronica Mars
    They’re calling it a movie, but no matter how you squint at it it’s a TV show.
  16. Beyond the Lights
    Unfortunately, as the story builds toward tenderness, it’s undercut with slathering tongues and bare-chested stud-muffin shots.
    • 39 Metascore
    • 50 Critic Score
    Justin Bieber's Believe
    Where Bieber’s first concert documentary, 2011’s “Justin Bieber: Never Say Never,” chronicled his rise to fame, his new one is damage control.
  18. Grand Piano
    Though Mira shows skill at evoking mood and building tension despite the constrained circumstances of the premise, the narrative quickly and embarrassingly breaks down.
  19. Ice Age: Collision Course
    The riot of color here brings to mind what the makers of “Ice Age” delivered with “Rio,” which in turn reminds us that these animators certainly aren’t just one-trick talents. Could be time for them to show us some new ones.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Masterminds
    It’s weird-stupid more than good-stupid.
  21. The Gunman
    Has there been a more tormented or intense study of the ambivalence of revenge than Penn’s performance in Eastwood’s “Mystic River” (2003)? Penn might not agree with Eastwood’s politics, but when it comes to probing a killer’s soul he couldn’t find a better model.
    • 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.
    • 54 Metascore
    • 50 Reviewed by
      Ty Burr
    Magic in the Moonlight
    Above all, it is predictable.
  24. God Help the Girl
    When it comes to writing and directing movies, though, Murdoch has some work to do. “Girl” meanders narratively and with random chronology, some scenes playing like tepid music videos, others as unhelpful efforts at exposition, some as strained drama, and some as the genuine, funny, spontaneous interactions of gifted young people.
  25. Stalingrad
    It’s a brutal bit of screen poetry that’s matched too infrequently by the aching human stories director Fedor Bondarchuk is so anxious to tell.
    • 53 Metascore
    • 50 Reviewed by
      Ty Burr
    Knight of Cups
    Lubezki is arguably this movie’s secret star, and he invests the movie’s Los Angeles settings with the strangeness and newness of a NASA rover traveling across Mars.
  27. Manglehorn
    Hunter has a scene with Pacino in a cafeteria where she expresses a degree of emotional pain, just through how she looks at him and holds her head, that’s at once awful to see and magnificent. It’s hard to figure out what Pacino saw in the script. What Hunter saw was this scene and getting to act with Pacino.
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    True Story
    True Story, which leads with its chin from the title on down and which turns a startling tale of true crime and false identities into a heavy-breathing drama that, ironically, fails to convince.
    • 48 Metascore
    • 50 Reviewed by
      Ty Burr
    Song One
    Movies can convey the fever of new love more intensely than almost any other medium, and Song One is best when it shrinks the world down to James and Franny alone together in a crowded city.
  30. God's Pocket
    Best, probably, to appreciate the movie for what Slattery, Hoffman, and the cast do most effectively: craft a pervasive atmosphere of tired people trudging through tired circumstances that only seem to grow more, well, tiring.
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