Boston Globe's Scores

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 1.1 points 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:
7947 movie reviews
    • 68 Metascore
    • 88 Critic Score
    Fully realizes its ambitions as a tale about confronting and navigating life's land mines with humor, tenacity, and hope.
    • Boston Globe
    • 76 Metascore
    • 88 Critic Score
    Does a terrific job of evoking the electric magic of an extraordinary era.
    • 78 Metascore
    • 88 Reviewed by
      Ty Burr
    Polite but emotionally devastating, How I Killed My Father throws such questions out like smart bombs, and they detonate long after the end-credits have rolled.
  1. Intimidated by the words "avant-garde film"? Then hand yourself over, without reservation, to the skills of documentarian Martina Kudlacek and her astonishingly accessible primer, In the Mirror of Maya Deren.
    • 89 Metascore
    • 88 Reviewed by
      Ty Burr
    What's most unusual about the original 24 years later, though, is its elegant minimalism.
  2. A definitive, low-tech stomping of every sci-fi clone that has sprung up in the original's wake.
  3. The film is conducted in a delirious cinema-verite style; most of what you see has a brutal, you-are-there immediacy. You're not merely watching history, you're engulfed by it.
    • 78 Metascore
    • 88 Reviewed by
      Ty Burr
    It's a honey of a performance: controlled, achingly human, and funny in the deepest ways.
  4. There's nothing paltry about its poultry.
    • Boston Globe
  5. Haunting, powerfully acted, penetratingly written, it's about people coming home -- and not coming home -- to their marriages.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    "No God and no religion can survive ridicule," wrote Mark Twain, but for once the sage of Hannibal was wrong.
  6. Ultimately, Bingenheimer seems underwhelmed with himself. The people who know him say, in the movie, that he's a relic. Mayor of the Sunset Strip makes heartbreakingly clear what a glorious relic Bingenheimer is.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    It's spookily touching to see this massed group of former rock gods gathered to honor one of their fallen. Bald spots and graying shags predominate; the giant velvet lapels of 1969 have given way to sensible sport coats; the granny glasses are for real.
  7. Stark, haunting, epic, and mournful, The Claim is a mountain of a film.
    • Boston Globe
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    Just don't expect the truth. An extremely bent, highly amusing form of the truth, maybe, but not the truth. 24 Hour Party People shares with the current Robert Evans documentary ''The Kid Stays in the Picture'' an awareness that a good anecdote often trumps the facts, but here the cheats are cheekily laid bare.
    • 75 Metascore
    • 88 Reviewed by
      Ty Burr
    A tremendous human drama, with each stage of its characters' journey a white-knuckle thriller in miniature.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    The ''R'' rating is understandable, but absurd. This is a family film in the most complicated and, ultimately, most cheering sense.
  8. MC5 is everything a rockumentary should be and usually isn't. Then again, MC5 was everything a rock band should be and usually isn't.
    • 88 Metascore
    • 88 Critic Score
    Cantet's script and direction are flawless, and, matched step-for-step by Jocelyn Pook's mournful score, he builds the tension to near unbearable levels.
  9. Nobody's going to think of The Score as trail-blazing, but there's nothing small-time about its dramatic and acting payoff.
  10. The film makes more apparent than ever that Howard is quite underrated as a filmmaker, possibly because he's been hidden in full view in the mainstream for so long.
    • Boston Globe
  11. After “Rocco,” Visconti’s style lost the vestiges of naturalism and indulged in rococo artifice and aristocratic splendor.
  12. From start to finish there's a shimmer of discovery about it - our discovery of it, Coppola's discovery of how much she can do.
    • 89 Metascore
    • 88 Critic Score
    Sensual, funny, and moving film.
  13. Nair, to her credit, doesn't succumb to any special pleading, which deepens her film's impact. Time and again, you sense that she and her subjects come from a place that believes in film, as "Salaam, Bombay" specifies its world and compels us to inhabit it. [15 Sep 1988, p.68]
    • Boston Globe
  14. It's a meditation on life and death, but it's less somber and more light-handed, subtle, and mischievously funny.
    • Boston Globe
  15. A witty yet fiery and, in the best sense, provocative play of ideas about freedom of expression.
    • 65 Metascore
    • 88 Critic Score
    More movies should be so funny and perceptive, with writing this sharp and acting this believable.
    • 80 Metascore
    • 88 Critic Score
    Elaborately layered movie about schemes and more schemes that pile up faster than chips on a blackjack table. The other half is realizing, about halfway through the film, that you won't figure it out until it's over.
  16. Has extraordinary depth and insight about the limitations and follies of human beings.

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