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. Grudge Match
    Stallone and De Niro simply don’t generate enough combative spark to make this anything more than an amiably mediocre diversion.
    • 58 Metascore
    • 50 Reviewed by
      Ty Burr
    Defiance
    Depressingly predictable in its dialogue and dramatic beats, Defiance is most interesting as a study of unlikely leaders.
    • 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.
  4. The Beaver
    The most provocative thing about The Beaver is the adult-movie title. The film itself is alternately fascinating and dull, though mostly the latter.
    • 44 Metascore
    • 50 Reviewed by
      Ty Burr
    Hostage
    It's a B-flick all the way, but it has no pretensions to the contrary, and that's some kind of refreshing.
  6. Brown Sugar
    Brown Sugar fails to produce an image of hip-hoppery as fascinating and complex as the moment when Halle Berry set her tongue wagging during a ghetto-fabulous grind with Warren Beatty in ''Bulworth.''
  7. Behind Enemy Lines
    As it is, Behind Enemy Lines will satisfy only those in search of a rousingly, if simplistically, patriotic bloodbath.
    • Boston Globe
  8. 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.
  9. Drug War
    It’s clear To is striving to keep the action gripping and creative. Modestly inspired is more like it.
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    Lust, Caution
    Lust, Caution is a disappointment coming from director Ang Lee, but it's a watchable one, and it rattles around in your head for a long time after you've seen it, as much for what it does right as for where it goes wrong.
  11. Ride Along 2
    You’ll have to be satisfied with a modest assortment of energetically comic moments here, because the story sure isn’t a reason to catch this encore, and neither are who-asked-for-’em cast additions such as Ken Jeong.
    • 54 Metascore
    • 50 Reviewed by
      Ty Burr
    Hulk
    To answer your first question: like a cross between Shrek, the Frankenstein monster, and a Rock 'Em Sock 'Em Robot.
    • 37 Metascore
    • 50 Reviewed by
      Ty Burr
    Speed Racer
    The movie demands you be a glutton for sensation and then has the nerve to ask why you're not hungrier.
    • 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.
  15. Felicia's Journey
    Has more ambition than the usual serial killer film, but curiously less urgency.
  16. Evan Almighty
    Only in the last 30 minutes does Evan Almighty put his gifts to decent use. Epically hairy and biblically robed, Carell suggests at that point what a bolder, more psychologically serious treatment of religious conviction would have been like.
  17. Jumper
    But what can you do with Hayden Christensen? He's as close as we have to an android actor. It's all a chore for him. He never looks sufficiently scared, impressed, or surprised by any of this.
  18. The Girl Who Kicked the Hornet's Nest
    This native send-off is robotic enough to leave you eager to see what an artist might do with a reboot.
  19. RoboCop 2
    RoboCop 2 isn't brain-dead, and perhaps that should be enough in this summer of pummeling sequels. But it isn't. Not in an action movie. [22 June 1990, p.43p]
    • Boston Globe
    • 24 Metascore
    • 50 Reviewed by
      Ty Burr
    The Boondock Saints II: All Saints Day
    The result isn’t art but it is an improvement: a scurrilous, lowdown, sub-Tarantino action comedy that, unlike the original, doesn’t make you want to claw your eyes out. How’s that for praise?
    • 70 Metascore
    • 50 Reviewed by
      Ty Burr
    Queen to Play
    For all the talk, there's not a lot of chess here, and the game remains stubbornly on the level of metaphor. You don't feel rooked, exactly, but by movie's end you're more than ready for the check.
  22. Diary of a Mad Black Woman
    Blows to the head are delivered with more subtlety than the message of Diary of a Mad Black Woman.
  23. The Idiots
    Von Trier's The Idiots is both lively and juvenile.
    • Boston Globe
    • 46 Metascore
    • 50 Reviewed by
      Ty Burr
    Rebel in the Rye
    The movie tries to tell the whole story instead of just a good one.
    • 45 Metascore
    • 50 Reviewed by
      Ty Burr
    Firewall
    A movie like this needs a suave, amoral villain, so here's Paul Bettany.
    • 46 Metascore
    • 50 Reviewed by
      Ty Burr
    We Are Your Friends
    It’s worth remembering that movies can have soul, too, if their filmmakers are willing to do the work to find it.
  27. The Summit
    First-time director Nick Ryan isn’t entirely up to the challenge in The Summit, but he does deliver some dramatic and visual highs in the attempt.
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    Welcome to the Rileys
    All three actors come at this gloomy, borderline-preposterous tale from different directions; that they meet up at all - and they do - is a tribute to sincerity and craft.
    • 44 Metascore
    • 50 Reviewed by
      Ty Burr
    The Jacket
    The acting makes the difference, and in Jacket it rises above the needs of the material.
  30. Bring It On
    She's (Dunst) the big reason the film rises above instantly rejectable formula to campy pop.
    • Boston Globe
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