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. Here
    Couple the broad acting and cliché-ridden screenplay with the fixed-frame format, and “Here” comes off like a bad sitcom, or even worse, a school play made by a bunch of fifth-graders who decided to tackle Eugene O’Neill or “Death of a Salesman.”
  2. Never Back Down
    The movie is just a cheesy, preposterous, semi-eroticized way of yelling, "Fight! Fight!," when two people go at it in the school cafeteria.
  3. Just Like a Woman
    What might have proven an illuminating perspective on familiar issues disappoints as Bouchareb fails to turn his outsider’s point of view into new insights, and instead takes the easy route, falling back on familiar stereotypes in his tour of US misogyny and xenophobia.
  4. The Exorcist: Believer
    Far too much of this movie is a replay of scenes and plot elements that Friedkin’s film did better, and without CGI. The anticipated head-spinning and pea-soup vomit were far more effective with practical effects.
  5. Dot the I
    A deplorable piece of cynicism whose only point of interest is Gael Garcia Bernal's accent
  6. Paul Blart: Mall Cop
    Looks like something stubbed out in an ashtray.
  7. Virtuosity
    Virtuosity doesn't really compute, but there's going to be more of its kind of cyberaction, not less. [4 Aug 1995, pg. 51]
    • Boston Globe
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    Chick Fight
    Both writer and director are men, which perhaps explains why much of the talk in Chick Fight about female empowerment and channeling one’s womanly rage comes off as lip service on the way to the next beat-down or snuggle-up.
  9. Resident Evil: Retribution
    Funny about retribution, though - it's a tricky thing to make time for when you've still got mutant zombie hordes after you. The real premise turns out to be a busy rehash of the first movie's story line.
  10. The Gunman
    Has there been a more tormented or intense study of the ambivalence of revenge than Penn’s performance in Eastwood’s “Mystic River” (2003)? Penn might not agree with Eastwood’s politics, but when it comes to probing a killer’s soul he couldn’t find a better model.
  11. Daddy Day Care
    The Daddy Day Care business model appears to be the 1983 Michael Keaton vehicle ''Mr. Mom,'' put on an unstoppable sugar high.
    • 39 Metascore
    • 50 Critic Score
    World Traveler
    The real seduction Crudup pulls off is that he makes it seem possible that the character hasn't actually done all of these awful things.
    • Boston Globe
  13. When Will I Be Loved
    Most atrocious movies build into their badness, as lacks of talent, ideas, self-confidence, or a total hatred of an audience, are revealed. This one gets it out of the way up front and never looks back.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    Legendary
    You'll come away from Legendary with no sense of what amateur wrestling is about.
  15. Final Destination
    Starts by cheating death and ends by cheating us.
    • 39 Metascore
    • 25 Reviewed by
      Ty Burr
    The Other Woman
    One of those loud, cringe-y female-empowerment comedies that feels like it was made by people who hate women.
  17. But I'm a Cheerleader
    It's a lame and painfully overextended satire of homophobia.
    • Boston Globe
    • 39 Metascore
    • 50 Reviewed by
      Ty Burr
    The Sitter
    The Sitter pushes the envelope with such sloppy gusto that you have to give in occasionally, and its comic timing finds its rhythm about every fifth joke.
    • 39 Metascore
    • 50 Reviewed by
      Ty Burr
    Tammy
    It just plonks down the actress and a handful of stellar co-stars without much in the way of a script, storyline, or actual jokes. Yet you may still come out with a smile on your face. It’s very odd.
  20. Ella McCay
    Thankfully, Ella McCay is not as bad as its predecessor. Had this film been a total disaster, it would be easier to dismiss. But every so often, there are glints of the James L. Brooks brilliance I loved so much.
    • 39 Metascore
    • 50 Critic Score
    O Jerusalem
    Alas, it aspires to be an epic drama but suffers from an acute identity crisis: It can't decide if it wants to be history, drama, or a cry for peace in the Mideast.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    Arthur and the Invisibles
    Watching Arthur and the Invisibles is like sticking your head in a Gallic pinball machine: It's hectic, technically impressive, and your skull starts to pound after a while.
    • 39 Metascore
    • 50 Critic Score
    Justin Bieber's Believe
    Where Bieber’s first concert documentary, 2011’s “Justin Bieber: Never Say Never,” chronicled his rise to fame, his new one is damage control.
  24. P.S. I Love You
    Blithely inept.
    • 39 Metascore
    • 25 Critic Score
    Annie
    Producer Ray Stark and director John Huston have relied more on the rigid style of the comic strip than on the high-steppin' pizazz of the Broadway show. They've transformed a big-hearted hit that won seven Tonys into a small- minded musical. [18 Jun 1982]
    • Boston Globe
  26. Pirates of the Caribbean: Dead Men Tell No Tales
    Much as Bardem enlivens things, the real source of zip is Kaya Scodelario (“Maze Runner: The Scorch Trials”). Charming and spirited, she’s Daisy Ridley dialed up a notch.
  27. Vincent Wants to Sea
    This is a bright, broad, silly, harmless movie whose sweetness is a means to an end.
    • 39 Metascore
    • 50 Critic Score
    Dear Evan Hansen
    Director Stephen Chbosky (The Perks of Being a Wallflower, Wonder) and screenwriter Steven Levenson work the levers of emotional manipulation so vigorously, and with so little finesse, that it’s hard to get truly invested in either Evan’s pain or his self-created dilemma.
  29. Eating Out 2: Sloppy Seconds
    This sequel, with the return of the first movie's insatiably slutty Los Angeles collegians, is as vulgar as its predecessor and just as almost-smart.
  30. Fat Albert
    In the end, it's hard to see a real reason for the movie's existence. We already have Muppets.
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