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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    • 46 Metascore
    • 38 Reviewed by
      Ty Burr
    The Last of Robin Hood
    The Last of Robin Hood plays like a laboratory control experiment gone wrong: What would happen if you made a movie with a great cast and terrible everything else?
  2. She's the Man
    A screwball comedy that made me wish I were 13 again, because this is precisely the kind of movie I would have gone nuts for in the ninth grade.
    • 45 Metascore
    • 63 Reviewed by
      Ty Burr
    Flipped
    Sweet, smartly acted, and charmingly old-fashioned, Flipped is a minor pleasure that will strike a lot of moviegoers - those who think no one makes movies for them anymore - as a major treat.
  4. The 'Burbs
    The 'Burbs begins promisingly, as if Joe Dante is going to yank a Steven Spielberg film into Blue Velvet depths. Once the premise is laid down, however, the film deflates and empties with alarming speed. [17 Feb 1989, p.88]
    • Boston Globe
      • Posted Jun 29, 2017
    • 45 Metascore
    • 25 Reviewed by
      Ty Burr
    Pain & Gain
    Pain & Gain, a jokey but fatally tone-deaf true-crime caper, plays like “Fargo” for idiots.
  6. The Little Rascals
    When the plot turns coy and arch as Alfalfa falls in love with a kewpie doll named Darla, however, the film turns insufferable. [05 Aug 1994, p.48]
    • Boston Globe
  7. Straw Dogs
    It's a crude, queasy, ugly remake of a crude, queasy, ugly, yet artistically superior 40-year-old Sam Peckinpah movie.
    • 45 Metascore
    • 63 Reviewed by
      Ty Burr
    Black or White
    Despite the best of intentions, a career-best performance from Kevin Costner, and outstanding work by Octavia Spencer and child actor Jillian Estell, Black or White succumbs to some of the same stereotypes it tries to dispel.
  9. Joe Versus the Volcano
    John Patrick Shanley's Joe Versus the Volcano starts out so brilliantly, so hilariously, so imaginatively, that even as it's cracking you up, you begin worrying that the rest of the film can't possibly be that good. Sure enough, it isn't. In fact, it deflates pretty alarmingly. But at least it has that beginning. [9 Mar 1990, p.27]
    • Boston Globe
  10. Crazy in Alabama
    The pieces don't always fit together smoothly, but there's a lot of flavorful work to savor.
  11. The Tomorrow War
    The best thing in the movie is Pratt. Firmly established in not one but two franchises — Guardians of the Galaxy and the Jurassic Park reboot — he’s come a long way from Parks and Recreation. He alternates here between charming wise guy and sensitive family man: Peter Quill domesticated.
    • 45 Metascore
    • 50 Reviewed by
      Ty Burr
    The Singing Detective
    The question that has to be asked is: Why? The original six-part BBC ''Singing Detective'' remains one of the signal achievements in the history of television -- really -- and its release on DVD this past spring puts it easily within reach of the curious.
  13. Bully
    Nothing new to say, and, in the end, no real point to make.
    • Boston Globe
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    Club Dread
    A bumptious splatter farce that manages to improve from awful to moderately engaging as its cast is winnowed down to the five guys themselves.
  15. The Bone Collector
    Washington and Jolie earn their stripes here, but more texture would have resulted, I think, in more terror.
  16. Mona Lisa Smile
    The reliable Mike Newell directs Mona Lisa Smile with such assurance that the important moments are never mawkish or dull, and he encourages the women to act with absolute conviction.
  17. American Assassin
    Trouble is, the movie’s dopiness isn’t in fact something you can get past. “American Assasinine” is frequently more like it.
  18. Evening
    Whatever Evening is saying about life, death, and guilt isn't terribly new or interesting.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    Takers
    Takers might have made a perfectly decent little B heist movie, but someone had to go and forget to give the cameraman his Ritalin.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    Factory Girl
    Factory Girl is not, strictly speaking, a bad movie. It's something worse: an irredeemably banal drama about some of the most protean, contradictory creative forces of the 1960s.
  21. The Son
    The Son is so concerned with trying to get an emotional rise out of the audience, to choke us with its pathos, that it fails to create believable three-dimensional characters.
  22. Pretty Persuasion
    Isn't so much awful as it is self-conscious, overdone, shallow, and just not up to the level of its star.
    • 45 Metascore
    • 50 Critic Score
    Dragonball: Evolution
    Nearly all the actors seem to be having a good time, and the action moves so fast that you don't mind when something nuts happens.
  24. Happythankyoumoreplease
    The movie is generic and shallow in its glimpse of the love and sex lives of a handful of young New Yorkers.
    • 45 Metascore
    • 50 Reviewed by
      Ty Burr
    Whatever Works
    Whatever Works is very minor Woody, querulous, fitfully funny, and removed from any shared reality.
  26. End of the Spear
    It's not remotely as luscious or half as bold as Malick's movie, but it is shorter and more educational.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    Hoodwinked!
    One aches to think what the great "Looney Tunes" directors could have done with this material.
  28. Extraordinary Measures
    The screenplay by Robert Nelson Jacobs affirms life and jerks tears with welcome degrees of humor and muscle.
  29. Uncharted
    Uncharted is big on isn’t-badness. Quite competently done (Ruben Fleischer, Zombieland, is the director), it’s mostly diverting, but not especially inspired.
  30. The Girl from Monday
    Numbing story.
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