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. Dune: Part Two
    Just as in the first film, I was put off by the white-savior narrative (Stilgar’s fervent belief quickly becomes grating), and the Hans Zimmer score that sounds as if Arrakis were in the Middle East rather than space.
  2. Don't Be a Menace to South Central While Drinking Your Juice in the Hood
    If there is potential in a film that ridicules the John Singleton-styled black-men-are-doomed movies like Poetic Justice, Jungle Fever and Straight Out of Brooklyn, Don't Be a Menace to South Central While Drinking Your Juice in the Hood squanders it on a series of repetitive gags and sexist jokes. [13 Jan 1996, p.28]
    • 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
  4. The Bubble
    In his last movie, The King of Staten Island (2020), Apatow was stretching, both emotionally and tonally, and it largely worked. Here he isn’t, and it doesn’t.
  5. I Love My Dad
    Emotionally, the movie is a mess. It can be even messier tonally. As storytelling, though, “Dad” moves right along. Viewers may look away at times, but they don’t look at their watches.
  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. Madame Web
    Johnson tries her best, and O’Connor is good for a few laughs, but “Madame Web” is a lost cause. The special effects are confusing and the action scenes are poorly edited. By the time we get a rote explanation of Webb’s powers, it’s too late to care.
  8. The Super Mario Bros. Movie
    The best I can say for The Super Mario Bros. Movie is that it’s infinitely better than its predecessor. But you don’t need a power-up to clear that bar.
  9. Day Shift
    Jamie Foxx is always interesting to watch. His latest movie isn’t. With “Day Shift,” reach for the garlic, not the remote.
  10. Armageddon Time
    The self-congratulatory, back-patting nature of this film is what makes it so insulting.
  11. Triangle of Sadness
    Precise, expert execution can’t compensate for forced situations and an unenforced imaginative rigor. It’s not so much that all the characters are so unsympathetic. It’s that they’re all so uninteresting. Caricature without gusto is shrink wrap covering . . . shrink wrap.
  12. White Noise
    Unfortunately, a screenwriter’s fealty to the source material is often the kiss of death. Some things are just not translatable from a reader’s mind to a more objective and visual medium like film.
  13. The Hunger Games: The Ballad of Songbirds and Snakes
    Even if you’ve only seen one of these films, you won’t need to spend 156 minutes witnessing the rise of a madman whose actions never required any backstory in the first place.
  14. The School for Good and Evil
    School is endlessly talky, with dialogue that has the consistency of melted licorice (red or black, your choice). The one thing to be said for Theodore Shapiro’s muscularly egregious score is that the music makes it marginally easier to miss what the characters are saying.
  15. The Greatest Beer Run Ever
    Perhaps the biggest problem with Beer Run is tonal haphazardness. Sometimes it’s meant to be funny — other times serious — other times even solemn. (Alternate title: “Chickie Learns About the Horrors of War.”) The few jokes that are clearly intentional tend to fall flat.
  16. Captain America: Brave New World
    While Lumbly brings a refreshing amount of Black anger and cynicism to his performance, Mackie is stuck in a kumbaya mode designed to not offend white viewers. It may be a brave new world, but it’s the same old story.
  17. 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.
  18. Empire of Light
    Director Sam Mendes tries his hand at writing an original screenplay solo, and the results are far from magical. Instead, Empire of Light strands its poorly defined characters in a nostalgia piece filtered through the director’s love of the movies. (For a better film on the same theme, watch “The Fabelmans.”)
  19. The Whale
    The Whale is being hailed as the comeback vehicle for Fraser. The actor has been through a lot, and he deserves roles that showcase his numerous talents. But he fails to bring humanity to this character who lives in a state of constant apology. The role feels like a cynical grab for an Oscar, which he’ll probably win as the Academy loves masochistic malarkey.
  20. Snow White
    This movie is bad in all sorts of ways, none of which has to do with the fact that Disney cast a Latina actor as Snow White. In fact, that actor, Rachel Zegler, is the film’s saving grace.
  21. The Garfield Movie
    The somewhat inappropriate story won’t matter to youngsters who’ll be hypnotized by a color scheme so bright you need sunglasses to view it.
  22. Emancipation
    Had “Emancipation” shaken off its Oscar-baiting “slave movie” shackles and instead gone full-tilt into a vengeance-laden “freedom movie,” it might have worked.
  23. You People
    Director Kenya Barris, who also co-wrote the script with Jonah Hill, intended to make an edgy, race-based cringe comedy; the result is afraid of its own shadow. This Netflix release commits an even bigger sin by wasting the considerable comedic talents of former “Saturday Night Live” castmates Eddie Murphy and Julia Louis-Dreyfus.
  24. Beau Is Afraid
    This is a movie with weapons-grade mommy issues.
  25. We Have a Ghost
    At an outrageously over-long 127 minutes, writer-director Christopher Landon’s adaptation of Geoff Manaugh’s novel “Ernest” feels like a different movie every 15 minutes.
  26. Theater Camp
    This musical should have taken center stage in Theater Camp. The dreadful story surrounding it deserves to get the hook.
  27. Strays
    Strays is a live-action flick about talking canines. As a movie, it is not a good boy; it is a bad dog. But if I were currently 12, I might have reacted in a more positive way.
  28. About My Father
    I admire Maniscalco’s decision to make his character the butt of the jokes, literally and figuratively. If only the jokes were funny. He has zero romantic chemistry with Bibb, who appears to be acting in another movie entirely, but he and De Niro make a credible father and son.
  29. Golda
    The end result is an inert bore. Golda fails as a character study and as an exploration of wartime mechanics. It succeeds only as Oscar bait.
  30. Mafia Mamma
    While Mafia Mamma fails as a comedy, it succeeds in delivering the graphically violent moments one expects from a movie about the Mafia.
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