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. Telling Lies in America
    It's a surprisingly sweet underdog immigrant coming-of-age story set in 1961. [24 Oct 1997]
    • Boston Globe
    • 58 Metascore
    • 75 Critic Score
    Year of the Horse
    Jarmusch captures all this in Super 8 Hi Fi 8 video, which gives a gritty, dirty feeling. Maybe it's fake authentic, but it feels right. [24 Oct 1997, p.C8]
    • Boston Globe
  3. Gang Related
    The schizoid Gang Related is too heavy to be light and too light to be heavy. [8 Oct 1997, p.F3]
    • Boston Globe
  4. The Edge
    The Edge is mostly corny macho mano-a-mano stuff, made watchable by spectacular scenery and a lot of understatement in Anthony Hopkins's performance and David Mamet's screenplay - until an overwrought ending brings it down. [26 Sep 1997, p.D7]
    • Boston Globe
  5. Nenette and Boni
    It's a powerful depth charge of a film about reinvented family values. In Denis's hands, this urgent, loving brother and sister act is lyrical, exhilarating, flecked with mystery. [24 Oct 1997, p.C6]
    • Boston Globe
    • 57 Metascore
    • 88 Critic Score
    Going All the Way
    Going All the Way is a familiar story told with daring and unsentimental eloquence. At a time when it is rare for exceptional books to become exceptional films, Pellington's debut arrives as a pleasant and welcome exception. [10 Oct 1997, p.C5]
    • Boston Globe
  7. A Self-Made Hero
    Ingeniously rising above the ongoing culture war between France and the United States, Jacques Audiard's A Self-Made Hero piquantly offers a distinct subtext for each country. [3 Oct 1997, p.D7]
    • Boston Globe
  8. She's So Lovely
    When the chemistry isn't there - and it mostly isn't - the actors and film seem merely self-indulgent, despite the obvious devotion with which She's So Lovely was made. [29 Aug 1997, p.C3]
    • Boston Globe
  9. Leave It to Beaver
    The humor in Leave It to Beaver is doggedly bland, with a conventional story line that's no more inventive than watching four episodes of the TV show scrunched together and interwoven. [22 Aug 1997, p.F6]
    • Boston Globe
  10. Career Girls
    Career Girls is a film that knows how wounding and complicated life can be, yet still believes in, and convincingly renders, the healing power of friendship. [15 Aug. 1997, p.D4]
    • Boston Globe
  11. Good Burger
    It's a neighborhood comedy for kids that squanders the high energy of a group of young actors on a stubbornly unimaginative script. [25 July 1997, p.C5]
    • Boston Globe
  12. Star Maps
    Miguel Arteta's Star Maps is an uneven first feature, but what's good in it is very good. It's got invigorating rawness to spare, making its low budget work in its favor. [22 Aug 1997, p.F5]
    • Boston Globe
  13. Hercules
    There's no dust on this snazzy new Hercules. It's got lots of muscle and lots of lift. [27 June 1997, p.C1]
    • Boston Globe
  14. The Pillow Book
    The Pillow Book is Peter Greenaway's most stunning and accessible film since "The Cook, the Thief, His Wife and Her Lover." Dense, gorgeous and inexorable - once you give yourself over to its logic - it's a boldly erotic explosion of Asian chic, taken to places no film has gone before. [20 Jun 1997]
    • Boston Globe
  15. La Promesse (The Promise)
    Hurtling from the screen with a vigor and importance that are all but absent from contemporary film, it's a deeply moving social drama, raw and gritty in style, shining with moral purpose as it delivers a scathing take-it-into-the-streets critique of feral capitalism and racism. [18 July 1997, p.D1]
    • Boston Globe
  16. Fathers' Day
    Robin Williams and Billy Crystal don't quite hit a dream team level of hilarity in Fathers' Day. They don't send you home empty-handed, either. [9 May 1997, p.C7]
    • Boston Globe
  17. Nowhere
    In short, Nowhere needs more humor, more wildness. Its pandemonium is only on the surface - which could have been the premise of a really humorous take on teen chaos. But it doesn't push the envelope as much as Araki's previous films. Although it gives his pop sensibility a vigorous workout, Nowhere is Araki's Mallrats. [06 June 1997, p.D6]
    • Boston Globe
  18. Irma Vep
    Olivier Assayas's Irma Vep is a spicy, propulsive, invigorating paradox - a French film of great gusto about the exhaustion of French film culture. Written in 10 days and shot in four weeks with a very busy Super 16mm camera, it looks and plays as breathlessly as its on-the-fly circumstances. [27 July 1997, p.C8]
    • Boston Globe
  19. Traveller
    Traveller is a little too rosy and pat, but it clambers its way to entertainment value all the same. [2 May 1997]
    • Boston Globe
  20. Love and Other Catastrophes
    Filled with fun, style, and ensemble give-and-take, the peppy Love and Other Catastrophes restores one's faith in sex, lies, and videotape. [11 Apr 1997, p.C7]
    • Boston Globe
    • 62 Metascore
    • 75 Critic Score
    Cats Don't Dance
    With its bonus points for campy fun, Cats Don't Dance is an all-around winner for all ages. [26 Mar 1997, p.D8]
    • Boston Globe
  22. Love Jones
    It's funky and funny, not just sleek, riding witty repartee that makes it seem an extension of the fizzy, romantic comedies of the '30s (as well as the Harlem Renaissance, invoked by its poetry club scenes). [14 Mar 1977, p.C1]
    • Boston Globe
  23. Jungle 2 Jungle
    Jungle 2 Jungle is surprisingly bearable. [07 Mar 1997, p.D5]
    • Boston Globe
  24. The Watermelon Woman
    Although Watermelon Woman is at times rudimentary and slight, it's saved by its humor and its way of tweaking political correctness. [9 May 1997, p.C6]
    • Boston Globe
  25. Touch
    The playfulness and high spirits bubbling from the pages of Leonard's novels are squelched by Schrader's earnestness. Schrader's touch with Touch isn't light, and it costs him. [14 Feb 1997, p.D9]
    • Boston Globe
  26. Mother
    Mother has a slyly subversive premise and a terrific and commandingly comic role for a woman - which immediately sets it apart from most other American films - and Debbie Reynolds pounces on it with such savvy and self-assurance that it reminds us how funny self-possession can be in the right hands. [10 Jan 1997, p.C3]
    • Boston Globe
  27. Metro
    For all its propulsion (when it isn't slogging through would-be love scenes), Metro is unable to avoid seeming like yet another of the vanity movies that got Murphy into the career trouble from which he just extricated himself. Murphy vulnerable is more appealing than Murphy as supercop. [17 Jan 1997, p.D6]
    • Boston Globe
  28. Thieves
    There's a grim fatalism in Les Voleurs, with more than a few pangs of resignation and a melancholy respect for the problematic nature of life. But it's also bold and powerful and totally unpredictable as it draws its narrative strands together to conclude that the human heart can be the biggest thief of all. [17 Jan 1997, p.D5]
    • Boston Globe
  29. My Fellow Americans
    In short, My Fellow Americans is too much like the bland, numbing political campaigns of which we're still trying to clear our heads. [20 Dec 1996, p.E6]
    • Boston Globe
    • 75 Metascore
    • 75 Critic Score
    Bastard Out of Carolina
    Huston's direct style and subtle touch keep Bastard from becoming a sociological treatise. Not for a moment can we forget that these are people hurting people. [13 Dec 1996, p.C28]
    • Boston Globe
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