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. Big Fat Liar
    Offers little in the way of pleasure, even to its target audience -- the easily pleased and undemanding.
  2. The Suicide Squad
    The addition of Gunn, like the addition of a definite article to the title, means more of the same: a baroquely nasty, flauntingly mean two-plus hours of superhero action that is also (a much greater sin) noisily tedious.
    • 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.
  4. The Proposal
    Neither (Bullock/Reynolds) brings out anything good in the other, and watching them try hurts the eyes, the tummy, and the libido.
  5. The Fantastic Four: First Steps
    Fantastic Four: First Steps alternates between battle sequences that you’ve seen countless times and interminable scenes of exposition disguised as emotional beats. The actors play this poorly written material as if they were doing Ibsen, which is commendable, but their attempts fail because you truly don’t give a damn about their plight.
  6. Operation Mincemeat
    A fine cast — Colin Firth, Matthew Macfadyen, Kelly Macdonald, Penelope Wilton — do their stiff-upper-lip best. It’s not good enough.
  7. See Spot Run
    See Spot Run isn't solely responsible for the dumbing down of movies, but it's part of the dismal phenomenon.
    • Boston Globe
    • 53 Metascore
    • 38 Reviewed by
      Ty Burr
    Brooklyn Rules
    Too many cliches and not enough energy have come along for the ride.
  9. A Place at the Table
    As morally engaged as the movie is, it’s also argumentatively slack. Precisely because it’s so easy to agree that hunger is bad, it’s hard to agree what to do.
  10. Unlawful Entry
    The script is too eager to rush to the high-concept payoff without providing dramatic or characterizational underpinning. [26 June 1992, p.34]
    • Boston Globe
  11. Destroyer
    Neither dense, distracting makeup nor confused, convoluted chronology can disguise the fact that Karyn Kusama’s Destroyer, scripted by Phil Hay and Matt Manfredi, is a mediocre mash-up of genre clichés.
  12. Where the Crawdads Sing
    Where the Crawdads Sing, based on Delia Owens’s best-selling novel, is long on setting and atmosphere. It’s short on most everything else. Droopy in pace, it’s increasingly drippy in feeling.
  13. Hook
    Hook touches neither fantasy nor soulfulness nor yearning. Mostly, it's benign spectacle in which the actors keep yielding the camera to some expensive playground or other. Hook is neither wistful nor primal. It's film's most expensive wind-up toy. [11 Dec. 1991. p.53]
    • Boston Globe
  14. The Beach
    It's "Beach Blanket Bingo" revisited, but with a Eurocast and more exotic locations.
  15. Teaching Mrs. Tingle
    Mostly a screenful of nothingness.
    • 34 Metascore
    • 38 Reviewed by
      Ty Burr
    Zoolander 2
    This needless sequel amps the silliness to DEFCON-4 levels of frantic surrealism and overstuffs the running time with famous faces. It’s a pop quiz instead of a movie, and it’ll be dated by tomorrow morning.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    Hoodwinked!
    One aches to think what the great "Looney Tunes" directors could have done with this material.
    • 30 Metascore
    • 38 Reviewed by
      Ty Burr
    Crossover
    Earnest and predictable, Crossover deserves more than the horselaughs that will probably greet it in theaters -- but not a lot more. The movie is harmless, which is both its strength and its weakness.
  19. Ned Kelly
    Ultimately, Jordan's vision is so murky that Ned Kelly remains as foreign to us as wombat stew.
    • 47 Metascore
    • 38 Reviewed by
      Ty Burr
    The Wild
    How's the movie? Technologically incredible, aesthetically pretty hideous, and narratively lumpy: Kids who aren't cynics (i.e., 9 and under) will roll with it.
  21. Tomcats
    Isn't as funny as it is crude, and isn't as crude as it is labored.
    • Boston Globe
    • 61 Metascore
    • 38 Reviewed by
      Ty Burr
    Vice
    This is a story that needs to be told, but McKay turns out to be precisely the wrong man to tell it. By comparison, Oliver Stone is a model of sober restraint.
  23. Great Directors
    Rarely have clips from so many good and great movies been put to such dull use.
  24. October Baby
    Its anti-abortion stance aside, October Baby looks and feels like a Lifetime movie waiting not to happen.
    • 33 Metascore
    • 38 Reviewed by
      Ty Burr
    RV
    RV has teeth -- more teeth than the last few Steve Martin films, anyway -- but it's terrified to bite down, knowing that the paying audience would feel it more than anyone.
    • 43 Metascore
    • 38 Reviewed by
      Ty Burr
    Vita & Virginia
    The tumultuous emotional, sexual, and literary relationship between Virginia Woolf and Vita Sackville-West would make a fascinating movie — it’s a shame that Vita & Virginia isn’t it.
    • 46 Metascore
    • 38 Reviewed by
      Ty Burr
    The Last of Robin Hood
    The Last of Robin Hood plays like a laboratory control experiment gone wrong: What would happen if you made a movie with a great cast and terrible everything else?
    • 55 Metascore
    • 38 Reviewed by
      Ty Burr
    Hyde Park on Hudson
    I don't know if I've ever seen a movie as spectacularly tone-deaf as Hyde Park on Hudson.
    • 59 Metascore
    • 38 Reviewed by
      Ty Burr
    The Hobbit: The Battle of the Five Armies
    Jackson has marched the modern fantasy-action epic into a thundering blind alley; the movie exhausts your senses without ever engaging your imagination.
    • 28 Metascore
    • 38 Reviewed by
      Ty Burr
    Infinite
    Heading straight to streaming platform Paramount+ without the embarrassment of appearing in theaters first, the movie is both blissfully incoherent and weirdly generic, as if it had been assembled from the spare parts of other movies and glued together with stuntwork.
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