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. Annabelle
    Though it features a plucky female protagonist, Annabelle still possesses the same medieval attitude toward women as “The Conjuring,” reducing the gender to the extremes of self-sacrificing mother and malevolent toy.
  2. Miracle at St. Anna
    Miracle at St. Anna is not work of outrage or joy. It's something distressingly new for the filmmaker: a work of obligation. It feels like a movie Lee made in order to say he did it.
    • 37 Metascore
    • 12 Critic Score
    Bad Company
    The major problem with this alleged comic thriller is it is neither funny nor thrilling. Neither the heavies nor the good guys are believable.
  4. The Crew
    Dogged allegiance to blandness.
    • Boston Globe
  5. Love Don't Cost a Thing
    The movie is so dependant on its source material that it fails to put Carter, Thompson, Penn, and Christy to better use.
  6. I Now Pronounce You Chuck & Larry
    Broad and badly made but sporadically inspired, "Chuck and Larry" is still an amazing improvement over "License to Wed," this month's other wedding comedy.
  7. Spy Kids: All the Time in the World
    Alba, meanwhile, is again ridiculously shoehorned into a comedy gig, although she does have an amusing opening bit spying while nine months pregnant. If only diaper bomb gags weren't the inevitable follow-up.
    • 37 Metascore
    • 50 Reviewed by
      Ty Burr
    All the King's Men
    I'm not the first observer, or even the second, to liken the star's (Penn) portrayal of fictional Louisiana governor Willie Stark to the late John Belushi's impersonation of Joe Cocker.
  9. The Beverly Hillbillies
    The important thing is that the film knows how to make itself likable. It's executed with warmth and affection and a high enough energy level to keep it entertaining. [15 Oct 1993, p.53]
    • Boston Globe
  10. Fist Fight
    The movie works best when it finds a balance between flatly familiar and over-aggressively unexpected.
  11. Haven
    Silly little thriller.
    • 37 Metascore
    • 38 Reviewed by
      Ty Burr
    War, Inc.
    All that's missing is coherence. Call it Blunderbuss Satire.
  13. Mercury Rising
    Every time the kid looks at a field of numbers and symbols that start jiggling across a screen to clicky music, but not jiggling as fast as his brain, he's exiling the kind of hero played by Willis to the scrapheap of history. [3 Apr 1998, p.D10]
    • Boston Globe
    • 37 Metascore
    • 25 Reviewed by
      Ty Burr
    Analyze That
    That this witless, formulaic sequel to the hit comedy Analyze This even dares to spoof ''The Sopranos'' is embarrassing. It's like Freddie Prinze Jr. slamming Gene Hackman as a bad actor.
  15. Fun Size
    All over the map in the details it throws at us, and the level of immaturity it aims for.
  16. When Do We Eat?
    The film turns that stale old Seder into warmed-up dinner theater.
  17. Garfield: A Tail of Two Kitties
    Though Murray and Curry gamely deliver some chuckle-worthy one-liners along the way, they're mostly leashed to material as moldy and uninspired as the "Jeffersons" theme song.
    • 37 Metascore
    • 50 Critic Score
    Shutter
    If Shutter is any indication, the reputation of professional photographers is still on the wane. Not only are photographs creepy, the film suggests, but so are photographers.
  19. Love Ranch
    Material this banal needs a madman of David Lynch proportions to incinerate it. Hackford leaves it intact, forcing us to regard a car he doesn't have the guts or skill to crash.
  20. Let My People Go!
    You don’t have to be Jewish to love borscht belt humor, or gay to love camp, or French to love farce. But when all three are thrown into a blender with a dollop of generic family dysfunction, as is the case in Let My People Go!, oy vey doesn’t begin to address the result.
  21. Honey
    Neither hot nor square, it's as simple and earnest as any after-school special and as cameo-laden as any rap video.
  22. The Nut Job
    The plot doesn’t take clever turns, the visual thrills aren’t all that thrilling, and you’re ultimately left to get your heist-movie kicks elsewhere.
    • 37 Metascore
    • 63 Reviewed by
      Ty Burr
    Battle: Los Angeles
    The Duke is not only name-checked in passing, but Eckhart (who's excellent) even bears a squinty resemblance by the final scenes.
  24. Red Notice
    The first hour or so is lively, a bit crude, and more fun than it has any right to be. Expect double crosses, switcheroos, serious spoiler-level plot twists. Most are ridiculous, but that’s OK. The excitement starts to feel mechanical, even stale, during the second hour.
    • 37 Metascore
    • 63 Reviewed by
      Ty Burr
    Cold Creek Manor
    The film is a disquieting and often very funny examination of yuppie unease in the country. The problem is, it's disguised as a dopey suspense thriller.
  26. Suspect Zero
    Eckhart, who gets more rugged by the picture, certainly works hard to bring the audience along. But he's a nervous wreck for nothing. This movie isn't talking to us, it's talking to other serial killer movies.
    • 37 Metascore
    • 25 Reviewed by
      Ty Burr
    Last Party 2000
    The film was conceived as a youthful tour of all that's wrong with the two-party system, with the likably shambling actor Philip Seymour Hoffman as host, but the breadth of subjects covered precludes any response other than nebulous discontent.
  28. The Bye Bye Man
    The concept is derivative of about a dozen other movies and their sequels.
    • 37 Metascore
    • 50 Reviewed by
      Ty Burr
    Only God Forgives
    Only God Forgives is the kind of remarkable disaster only a very talented director can make after he finds success and is then allowed to do whatever he wants.
    • 37 Metascore
    • 38 Critic Score
    The Country Bears
    The music and the stars aren't enough to save the movie.
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