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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    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    Queen of the Desert
    In no way, shape, or fashion does Queen of the Desert qualify as a good movie, but for fans of Werner Herzog — those of us who have followed cinema’s Teutonic imp of the perverse since the 1970s, when he was staging all-dwarf fables and sending conquistadors across mountains — it is fascinating and something close to a must-see.
  2. Tyler Perry's A Madea Christmas
    It’s a Christmas nightmare, stuck with two obnoxious relatives who think they’re funny, and won’t shut up.
    • 43 Metascore
    • 38 Reviewed by
      Ty Burr
    Twentynine Palms
    A textbook example of how a director can strip away plot, motivation, character, and meaning and still leave arrant pretension standing tall.
    • 38 Metascore
    • 38 Reviewed by
      Ty Burr
    Raising Helen
    Works so hard to be inoffensive that you may well be offended.
  5. Better Living Through Chemistry
    One hopes that, for their own good, when any of these actors are offered a script like this again, they’ll have the sense to just say no.
  6. Red Eye
    A one-trick action thriller that feels like a poor cousin of an episode of ''24." Call it ''12."
  7. On Any Sunday: The Next Chapter
    The fundamental value put forth in Brown’s “Sunday” sequel is not fearlessness but “family.”
  8. Road House
    Road House is the kind of action movie whose rigging is so blatant that there can be no air of heroism about it. Although Swayze and Sam Elliott, in the role of his mentor, have the decency to look sheepish most of the time, there's no end to the cynicism and merchandising on screen, especially in the sex scenes. [19 May 1989, p.45]
    • Boston Globe
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Alvin and the Chipmunks: The Squeakquel
    Almost but not quite as obnoxious as its title. Little kids will love it. You’ll need a hazmat suit.
  10. End of Days
    It seems endless. It's also unusually crude and stupid, even for an Arnold Schwarzenegger movie.
    • 32 Metascore
    • 38 Reviewed by
      Ty Burr
    The Santa Clause 3: The Escape Clause
    The bad news, for those looking forward to The Santa Clause 3: The Escape Clause with anything like enthusiasm, is this: Bernard the Elf is history.
    • 47 Metascore
    • 38 Critic Score
    Bella
    In this bilingual morality movie about love, family, and fate, however, the unpredictability turns out to be highly predictable.
  13. Dream a Little Dream
    There are some sweet impulses in first-time director Marc Rocco's Dream a Little Dream, but it's a mess. [3 March 1989, p.47]
    • Boston Globe
    • 29 Metascore
    • 38 Critic Score
    Diana: The Musical
    As biography, Diana is shallow and reductive, checking the boxes of an extremely well-known story with numbing predictability. As musical theater, Diana is a forgettable farrago of painfully on-the-nose lyrics and clashing song styles that ventures perilously close to camp.
  15. Office Christmas Party
    This last angle had us thinking back to “Risky Business,” as did the Chicago setting and the reveling gone off the rails. Here, though, there’s no edge to the wildness, nothing memorable.
    • 48 Metascore
    • 38 Reviewed by
      Ty Burr
    21
    The movie's chief audience, consequently, will probably be gullible and young, responding to the cliches only because they haven't seen them before. They have a word in Vegas for these people: Suckers.
  17. The Event
    Dukakis gets off some of the film's best lines and keeps the worst from sinking the whole affair; Polley's role is limited, but her character's audition for a feminine hygiene commercial is by far the best thing here.
    • 35 Metascore
    • 38 Reviewed by
      Ty Burr
    Transformers: Revenge of the Fallen
    2 1/2 hours of tumescence disguised as a motion picture.
  19. The Good Heart
    Cox doesn’t so much chew the scenery as inhale it. Dano looks on in awe.
  20. In the Mouth of Madness
    In the Mouth of Madness is firmly lodged in the armpit of boredom. [03 Feb 1995, p.55]
    • Boston Globe
  21. Tristan and Isolde
    Franco can be exhilarating in movies -- tremulous, unhinged, a little wild. Here his jaw never stops quivering and his eyes stay welled up, advertising a breakdown that never comes. Not that Myles has a presence a man would fall apart over. She's too professional to drive anybody crazy.
  22. I, Frankenstein
    Eckhart doesn’t really do any of that classic grunting as Frankenstein 2.0, but maybe he should have.
  23. Marebito (The Stranger from Afar)
    It's actually a pretty lousy thriller.
  24. Mr. Woodcock
    The film logs almost all of its laughs when it's at its crudest, meanest, and most unfiltered. Everything else - and that is to say most of the movie - is a big, fat, derivative waste of time.
  25. Road Trip
    Occasionally wills itself to rude, crude life. But most of the time it's pretty limp.
  26. Snowtime!
    Despite a few diverting moments and some ambitiously dramatic themes, this one is simply too uneventful and too populated by thinly sketched characters to keep its target audience engaged.
    • 55 Metascore
    • 38 Reviewed by
      Ty Burr
    Secret Things
    Hints at a place where desire, fear, pleasure, and power all intersect, but it never actually goes there.
  28. Finding Home
    Finding Home is well meant and earnest but is stretched to almost twice what would have been a comfortable length.
    • 40 Metascore
    • 38 Reviewed by
      Ty Burr
    Butter
    Butter dearly wants to be a hot-button social satire that plays rough with sacred cows: Midwestern power-moms, the religious right, race, sex, you name it. Mostly, it wants to be an Alexander Payne movie from the 1990s. "Citizen Ruth," say, or "Election." Instead, it's a shrill, cartoonish mess.
    • 26 Metascore
    • 38 Reviewed by
      Ty Burr
    Dolittle
    And while I understand Downey wanting to make a movie for his kids, the world might be better served if, at long last, he made one for himself.
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