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 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:
7947 movie reviews
    • 37 Metascore
    • 63 Reviewed by
      Ty Burr
    Inside Amelia is a sharp idea struggling to get out: How does a woman marketed to the public as a star turn herself back into a human being? And at what cost?
  1. One of those movies that an audience knows is terrible the minute it starts.
  2. Marilyn Monroe’s death in 1962 was ruled a suicide, as was Hemingway’s in 1961. Both spawned conspiracy theories. Maybe someone should make a movie about that. Or a decent one about Hemingway himself.
  3. Underdog! Rest assured, there is no superhero cliche left unchewed; they even manage to slide in a "Lady and the Tramp" homage while they're at it.
  4. The film is nothing to be ashamed of (especially if you're Kingsley). But it's as if everybody involved knows what the deal is.
  5. Directing Annapolis is Justin Lin, whose previous feature was the irresponsible high-school comedy thriller "Better Luck Tomorrow." This second movie is more his speed.
  6. P2
    Amid the dumbness and disgust for paying customers, the movie does manage to cough up something I didn't expect: a performance so terrible you can't quite believe it's happening: Bentley's.
  7. The result is a scattershot comedy that only intermittently nails either tone, finally just bogging down in flatly choreographed mayhem in the late going.
    • 37 Metascore
    • 38 Critic Score
    You get the impression that the cast and crew of Another Gay Movie could have made a genuinely funny film if they weren't obsessed with out-grossing the already gross "American Pie."
  8. It swoops, it pans, it noses around. The camerawork is almost as agitated as the editing. The directors seem to be trying to compensate for all the speechifying with as much random motion as possible.
  9. If you appreciated the first movie’s sweetness, then you’ll likely be charmed enough. Otherwise, you’ll find the oof-to-opa! ratio hasn’t changed.
  10. Attempts none of the witty, provocative visual and metaphysical set pieces from any of the ''Nightmare'' movies. And it offers none of the real fright of the early ''Friday the 13th'' films. In fact, the movie is deeply, proudly unimaginative.
  11. Barely any of it is funny, and if a minute of it is meant in mockery, few of the darts ever find the board.
    • 37 Metascore
    • 25 Critic Score
    So nonchalant is Resident Evil: Afterlife, the fourth movie in Paul W.S. Anderson's dystopian franchise, that its overarching premise isn't explained.
  12. Gimme Shelter is sometimes moving and inspiring, but you have to wonder: Though Kathy and her movement give teenagers shelter, do they give them a life?
  13. Mosteller might be the movie's real discovery. He twists his lisp and slurry speech around the dialogue in a way that exudes far less attitude than the kids.
  14. For the most part, though, the film maintains its low ambitions; it is mostly inoffensive, only occasionally ludicrous, and at times, at least for me, genuinely moving.
    • 37 Metascore
    • 63 Reviewed by
      Ty Burr
    A guilty pleasure that’s guiltier than most, a southern-fried potboiler that seems to be settling in as a camp remake of “Body Heat” before it turns itself inside out and becomes something else entirely.
  15. A slow and silly action-comedy romantic-thriller.
  16. A sequel whose time has come - and gone.
    • Boston Globe
  17. Supposed to be a cheeky little lark but instead runs a narrow gamut from labored to aimless.
    • Boston Globe
  18. His [Director Tony Scott's] pornographic lust for bloodletting, gunplay, and out-of-control camerawork far exceeds his abilities to tell a story.
    • 37 Metascore
    • 63 Reviewed by
      Ty Burr
    There are really only two kinds of big-budget action movies: stupid, and good and stupid. Surprisingly, XXX: State of the Union is good and stupid, which makes it an immediate improvement over 2002's meatheaded "XXX."
  19. The moments that elevate Wrath above the routine are right in line with Liebesman's "Battle: Los Angeles'' high points: frenetically shot u-r-there combat sequences that feel like the real thing.
    • 37 Metascore
    • 38 Reviewed by
      Ty Burr
    The greater embarrassment is that so many millions of dollars have been wasted on an entertainment that feels so smug, so pointless, and so thunderously empty.
  20. 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.
  21. Waist Deep is a cynical excuse for the writer and director (and talented actor) Vondie Curtis-Hall to sock some money away for the kids' college tuition. It's as if he watched "Get Rich or Die Tryin' " and thought, "It needs more palm trees."
  22. The movie is terrible partly because it's badly written, directed, and conceived and partly because it lacks the necessarily thematic coherence to accomplish proselytism of any kind.
  23. It has no pulse, no apparent breath.
  24. However well-intentioned the movie may be, it spills over with flat cutesy humor, making a slog out of an experience that should be filled with wonder.

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