Boston Globe's Scores

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For 7,964 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 0.9 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: 5,240 out of 7964
  2. Mixed: 1,556 out of 7964
  3. Negative: 1,168 out of 7964
7964 movie reviews
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  1. Star Wars: Episode I - The Phantom Menace
    Good enough, but only just. It's got the hardware, but neither the characters, the imagination, nor the resonance one had hoped for.
  2. After Life
    It isn't conventional drama or plot twists that make After Life moving. Rather, it's the exquisitely tender memories that come floating to the surface of this or that interviewee's mind. [11 June 1999, p.D6]
    • Boston Globe
  3. The Mummy
    Seems to be going through a series of motions so obviously virtual that it makes you wish that the filmmakers had stayed away from the computer keyboards entirely and stuck with the rotting tape look.
    • 72 Metascore
    • 75 Critic Score
    Pusher
    Refn's direction in Pusher exhibits an uncanny prescience for techniques that would peak a decade later as reality TV -- low-budget, digital video; the use of a tipsy, peripatetic camera; and a wide-angle lens to engulf all the action.
  5. Election
    An invigoratingly mordant comedy that proves that Alexander Payne's rambunctious debut, "Citizen Ruth," was no fluke.
  6. Go
    "Pulp Fiction" wannabes don't get much slicker or edgier than Go.
    • 53 Metascore
    • 63 Critic Score
    Metroland
    Bale and Watson make most of the film more interesting and watchable than it might otherwise be, finding flesh and blood in a script that isn't always equal to their talents. [23 Apr 1999]
    • Boston Globe
    • 60 Metascore
    • 50 Critic Score
    Following
    There are moments in Christopher Nolan's thematically ambitious film noir that make you wish he had the time and money and, to a certain degree, talent, to fulfill his lofty goals. [11 Feb 2000, p.C9]
    • Boston Globe
  9. The Matrix
    Snazzy visuals, of which she (Moss) is one, carry The Matrix past its klutzy script.
  10. My Favorite Martian
    Even the presence of Walston himself, as the government heavy in charge of tracking Lloyd's zany Martian, does little to alter the inescapable conclusion that this My Favorite Martian reincarnation is more likely to find favor with the undemanding than the nostalgia-minded. [12 Feb 1999, p.E5]
    • Boston Globe
  11. She's All That
    In short, the film isn't afraid to wear its heart on its sleeve and bring conviction to its focus on feelings. It's written with enough dexterity and wit to make you buy into it. [29 Jan 1999, p.C4]
    • Boston Globe
  12. Playing by Heart
    It plays something like Robert Altman Lite. It's saved from writer-director Willard Carroll's increasingly forced linkages and made watchable by the resourceful acting of its ensemble, some of whom get more to work with than others. [22 Jan 1999, p.D4]
    • Boston Globe
  13. Mighty Joe Young
    Karmic influences or not, the new "Mighty Joe Young" works. This is one remake that isn't trying to make us forget the original, but seems rather to embrace it and bring it into the present in solidly crafted, family-friendly fashion. [25 Dec 1998, p.C9]
    • Boston Globe
  14. Down in the Delta
    Down in the Delta, Maya Angelou's film-directing debut, strongly establishes her ability to command emotional authenticity and fashion-rich, beautifully wrought images that tap into the stabilizing dignity of family life. [25 Dec 1998, p.C7]
    • Boston Globe
  15. You've Got Mail
    Warm, smart, and funny!
    • Boston Globe
  16. The General
    The General is a gravely beautiful film (in wide-screen black and white) by John Boorman about an Irish career criminal who was an antiauthoritarian folk hero, a warm family man to a menage a trois, and also a dangerous psychopath.
    • Boston Globe
    • 40 Metascore
    • 50 Critic Score
    Jack Frost
    The most amazing thing about Jack Frost may be that it took four writers to come up with a film as insubstantial as tinsel and as leaden as fruitcake. Then again, perhaps none of the writers wanted to bear the blame alone. [12 Dec 1998, p.C4]
    • Boston Globe
  18. Babe: Pig in the City
    Miller is going to take some heat for making this new film inhabit a cruel world. But better that than sugarcoating the story. He's found a way to recycle a popular film - choppily perhaps, episodically perhaps, but provocatively. [25 Nov 1998, p.C1]
    • Boston Globe
    • 36 Metascore
    • 38 Critic Score
    Belly
    This sickeningly violent film, starring a bevy of rap stars, marks the feature debut of hot video director Hype Williams, and while there are hints of his trademark trippiness, this is basically an utterly joyless endeavor. [04 Nov 1998, p.E6]
    • Boston Globe
  20. The Cruise
    Perhaps a little more back story would have given Levitch some dimension and given us a bit more incentive to commiserate with him. As it is, a little Levitch goes a long way. [20 Nov 1998, p.C4]
    • Boston Globe
  21. The Last Days
    Powerful as the archival material is, the most loaded footage is of these survivors back on the pain-drenched turf of their Hungarian origins and the blood-drenched soil of the former concentration camps they outlived. Given the moral authority of their presence, the film doesn't need extraneous drama, and wisely avoids it. [26 Feb 1999, p.D4]
    • Boston Globe
  22. Slam
    With the charismatic Williams and Sohn leading the way, "Slam" electrifyingly moves beyond wishful thinking to hot immediacy, and, yes, earned optimism. [23 Oct 1998, p.D4]
    • Boston Globe
  23. Flowers of Shanghai
    Hou Hsiao-hsien is one of the masters of world cinema, and Flowers of Shanghai represents a shift for him. Stunning and hypnotic, it's his first period piece. [07 Apr 2000]
    • Boston Globe
  24. Permanent Midnight
    In short, Permanent Midnight is about what you would expect from a mild-at-heart movie that wants to titillate with a fallen artist story that has a wholesome outcome. [18 Sep 1998, p.D9]
    • Boston Globe
  25. Without Limits
    Without Limits gives us the achievement, gives us Prefontaine'sflaws alongside the considerable appeal, makes us feel his loss. It's miles beyond the previous biofilm about him, Prefontaine. It works because it makes running a subset of being maniacal - and nothing works better in a movie. [13 Sep 1998, p.N25]
    • Boston Globe
  26. The Eel
    The Eel careens all over the stylistic map, from irony to slapstick. But it's chaos in the service of rebirth and redemption, a rich screenful of zigzagging. [16 Oct 1998, p.C5]
    • Boston Globe
  27. The Governess
    The sheer intelligence and independence of spirit in Driver's busy eyes almost carry The Governess past its structural limitations. [07 Aug 1998]
    • Boston Globe
  28. Hands on a Hardbody: The Documentary
    Bindler's recognition of the rich and intense human drama boiling away beneath the laconic surfaces and underplayed verbalizations turns Hands on a Hardbody into a surprisingly affecting metaphor for American life as an ongoing exercise in endurance. [30 Jul 1999, p.D7]
    • Boston Globe
  29. I Went Down
    I Went Down is an offbeat Irish gangster movie that overcomes its meandering nature with engaging performances, an avoidance of formula, and, above all, its characters' way of making us take everything personally - as they certainly do. [1 July 1998, p.F4]
    • Boston Globe
  30. Henry Fool
    Writing ignites miracles in Henry Fool, and Hartley's exquisite control over his compositions and pacing makes the outrages, biological and otherwise, funnier than you might believe. [01 Jul 1998]
    • Boston Globe
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