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 1.1 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:
  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. Intervista
    It's a relief that when Fellini decided to sum up his career, he still had enough left to do it so wittily, jauntily and with such expansiveness of spirit. Lovely stuff, just lovely. [19 Feb 1993, p.30]
    • Boston Globe
  2. Winchester '73
    This tight, tense black-and-white Anthony Mann film revived Westerns and kept Jimmy Stewart's career alive during the actor's Korean War stint. [19 Apr 1991, p.46]
    • Boston Globe
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Locke
    The seductively gripping cinematic stunt that calls itself Locke bears a slight resemblance to the recent “All Is Lost.”
    • 83 Metascore
    • 75 Reviewed by
      Ty Burr
    20,000 Days on Earth
    It’s a relief to find a rock-doc that eschews the usual grainy hand-held wobble for steady camerawork and crisp compositions. The movie looks gorgeous — an artful frame into which Cave can pour his demons.
  5. Election
    An invigoratingly mordant comedy that proves that Alexander Payne's rambunctious debut, "Citizen Ruth," was no fluke.
  6. Memento
    The most disorienting and trippiest data-retrieval caper in years.
    • Boston Globe
  7. Creed
    After a long, long stretch in which the series’ attrition had come to feel like even more of a bummer than intended — no more Mickey, no Apollo, no Adrian — the franchise has welcome new life. But instead of going by Rocky, he goes by Creed.
  8. Memories of Murder
    What's most remarkable about it is the way Bong builds real suspense and plays the chilling moments straight while leaving himself room for nonsense and horseplay. He seems completely at ease with the marriage of the silly with the serious. Only time can reveal whether he's a master filmmaker, but this, at least, is a masterful performance.
  9. Pride & Prejudice
    Jane Austen's novel has been rejiggered into a jaunty romantic comedy that leaves us as incandescently happy as its characters.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    Monsieur Lazhar
    There's a quiet metaphor here: How do you teach children without touching them - their minds, their souls, their sensitivities?
    • 82 Metascore
    • 63 Reviewed by
      Ty Burr
    Transit
    This is a movie that wants to reflect the limbo of war refugees and the greater limbo of life itself — the circles we run in while believing we’re walking a straight line. It does so with a precise, observant tone that’s cool, sometimes cruel, and ultimately coldly reductive.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    Venus
    Venus is rollickingly funny at times -- but there's an undercurrent of extraordinarily clear-eyed sadness.
  13. The Love Witch
    Visually, it has the intense intimacy of a dream.
    • 82 Metascore
    • 88 Critic Score
    Diner
    Barry Levinson's Diner is an extremely clever, slick male fantasy that takes some time to work out its mood and tone but ultimately blossoms into a moving film. [16 Apr 1982]
    • Boston Globe
  15. Peter Hujar's Day
    This movie is a raging, unwatchable bore, filled with unnecessary details and interminable ramblings. Though it runs a mere 76 minutes, it feels like 76 hours.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    Night of the Kings
    A tribute to the power of imagination and storytelling, and it’s like nothing you’ve seen before.
    • 82 Metascore
    • 75 Critic Score
    Rivers and Tides: Andy Goldsworthy Working with Time
    May bring Goldsworthy's art closer than anything else to ''permanence'' in any traditional sense.
  18. The Second Mother
    A kitchen, a guestroom, and swimming pool become battlegrounds. Though hardly revolutionary, “Mother” subverts conventions — both cinematic and social.
  19. Nowhere to Hide
    Sharif is a paragon of decency and endurance, but his camera skills are limited and often constrained by circumstances. For the most part this roughness reflects the raw immediacy of the experience.
  20. Three Times
    Another triumph of modesty from a master who deserves real, paying audiences, not just the adoration of besotted film critics.
  21. Hit Man
    Hit Man is one of the year’s best movies.
  22. Ghostlight
    The trio give excellent performances, working together to create a credible family unit. Father and daughter hit their strides during their moments of catharsis onstage, which explains why audiences at Sundance reportedly laughed and cried during the climactic performance.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    Ajami
    It’s much too easy to call Ajami an Arab-Israeli “Crash,’’ but it’s a pretty good place to start.
  24. Viola
    Viola owes much of the pleasure it offers to the sorts of things one looks for in any good movie: an attractive cast, attractively photographed in an attractive location, and plotting that manages to feel relaxed without being lazy.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    127 Hours
    The scene appalls but doesn't offend; it's a "Worst-Case-Scenario Survival Handbook'' nightmare that resonates on the metaphysical level.
  26. Tell No One
    Once the final character has put the last puzzle piece in place, courtesy of an epic explanation, a kind of relief sets in: Someone just needed to spell it all out. It does not entirely help.
    • 82 Metascore
    • 100 Reviewed by
      Ty Burr
    The Illusionist
    A handcrafted jewel of a movie, The Illusionist understands the illusions that sustain us in youth and that we have to let slip in the end. It's the rare work of art that cherishes both the magic and the trick.
  28. The Deep Blue Sea
    Rachel Weisz has become an exquisite camera artist. In a single shot, she can open up a whole movie. The Deep Blue Sea has a scene like that.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    The End of the Tour
    Just because David Foster Wallace would almost certainly have hated The End of the Tour doesn’t mean that it’s not a worthwhile movie. And in fact James Ponsoldt’s dramatic adaptation of Rolling Stone journalist David Lipsky’s memoir about his 1996 road trip with Wallace is pretty excellent: heartfelt, probing, funny, above all touching.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    Enron: The Smartest Guys in the Room
    Entertaining and enraging.
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