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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    • 40 Metascore
    • 25 Reviewed by
      Ty Burr
    3 Days to Kill
    3 Days to Kill is pretty terrible, but it’s not really Kevin Costner’s fault.
  2. That Awkward Moment
    As for the dialogue, although the characters talk really fast, swear a lot, and overlap their lines, what they’re saying isn’t very funny or authentic. It’s as if David Mamet collaborated on writing an episode of “Two and a Half Men.”
  3. Adore
    Just one more touch of “realism” in a sexual melodrama played so straight that it’s nuts.
    • 41 Metascore
    • 25 Reviewed by
      Ty Burr
    Romeo & Juliet
    Carlos Carlei’s Romeo and Juliet is a failure of skill.
  5. The Loft
    There’s no redeeming this softcore nonsense, which plays like a script that “Storage Wars” stumbled across in Joe Eszterhas’s old locker.
  6. Vampire Academy
    Despite such attractions as Gabriel Byrne as a vampire with a skin disease and a décor that combines Hogwarts with “Suspiria,” the only lesson learned here is that Hollywood needs fresh blood.
  7. Bad Words
    Misogynistic, homophobic, scatological — none of these words come up in any of the spelling bees that take place in Jason Bateman’s directorial debut, but they apply to the film.
  8. The Quiet Ones
    The Quiet Ones simply has nothing to say.
  9. Fantastic Four
    Ultimately, what Fantastic Four delivers is change for change’s sake, rather than change for the better.
  10. Wrong Cops
    No doubt a labor of love, the result is just plain laborious for the audience.
    • 39 Metascore
    • 25 Reviewed by
      Ty Burr
    Dark Places
    Grim, ridiculous, and dull.
    • 43 Metascore
    • 25 Reviewed by
      Ty Burr
    Wish I Was Here
    As an actor, Braff does thin-skinned sad-sack quite well. As a writer, he’s hopelessly banal. As a director, he’s a disaster.
  13. Entourage
    The film is stuck in the inconsequential rut of the series. The characters are static, and the comedy is situational rather than dramatic.
  14. Legends of Oz: Dorothy's Return
    This is mythology that’s famously transportive in every sense, but the animators struggle to take us anywhere truly captivating, or even clearly defined.
  15. Let's Be Cops
    None of this is as riotously zany as it wants to be.
  16. London Has Fallen
    For the sequel, London Has Fallen, Butler and director Babak Najafi (HBO’s “Banshee”) strike a tone that’s more consistent — consistently dumb.
  17. Innocence
    It’s an idea that could make for decent genre viewing, if only its cast had some range, and its indie reach didn’t exceed its mainstream-polished grasp.
  18. Mojave
    In his second directorial effort, Mojave, Monahan has no such map to follow, and he wanders in a land of sophomoric pretentiousness and banal profundities.
  19. Stonewall
    Roland Emmerich’s Stonewall reduces these events to a backdrop for caricatures that were already passé in William Friedkin’s “The Boys in the Band” (1970).
  20. Norm of the North
    Denounce the cynics who pander such pabulum as entertainment for children.
    • 41 Metascore
    • 25 Reviewed by
      Ty Burr
    King Arthur: Legend of the Sword
    King Arthur: Legend of the Sword is stupid enough to send you back to the one movie that did the saga right by ripping it to shreds, 1975’s “Monty Python and the Holy Grail.”
  22. Mother's Day
    It’s like a nightmare in which you are trapped in an endless Kmart aisle of horrible holiday cards.
    • 27 Metascore
    • 25 Reviewed by
      Ty Burr
    Transformers: The Last Knight
    The plot is a canvas on which to bludgeon the audience with action sequences that have been shot for maximum overstimulation.
    • 46 Metascore
    • 25 Reviewed by
      Ty Burr
    Wonder Wheel
    Wonder Wheel, Allen’s new film, is one of the Very Bad Ones. Set in a post-WWII Coney Island that glows with the hues of popsicles at sunset, it’s a strained adultery melodrama that appears to have been written poorly on purpose, as a sour parody of 1950s theatrical clichés.
    • 42 Metascore
    • 25 Reviewed by
      Ty Burr
    Suburbicon
    Suburbicon is George Clooney’s sixth feature as a director and the latest spiral downward in terms of quality.
    • 40 Metascore
    • 25 Reviewed by
      Ty Burr
    Welcome To Marwen
    The tone is almost willfully off-putting. The parts that are supposed to be cute could give you the creeps. The film is almost a Platonic ideal of how to take an emotionally transfixing real-life story and get it wrong.
  27. The Bodyguard
    The Bodyguard is a misfire. It's one of those perplexing but complete failures where all the ingredients show up, but somehow manage never to jell into anything convincing. [25 Nov 1992, p.35]
    • Boston Globe
  28. Fletch Lives
    Fletch Lives isn't a total zero. Three, or maybe four, of Chevy Chase's wisecracks work. But everything else about the film is feeble and poky. Even its tastelessness lacks the coarse energy of vulgarity. It's hard to believe that the world has had to wait five years for this witless, insipid sequel to "Fletch," an original that's easy to top. [17 Mar 1989, p.45]
    • Boston Globe
  29. PCU
    There's about one TV commercial's worth of funny gags in PCU a poorly executed one-joker about political correctness on campus...But any laughs quickly become redundant and wear thin, and the uselessly involved plot spirals off into absurdity. [29 Apr 1994, p.49]
    • Boston Globe
  30. Encino Man
    This one, a comic vacuum, is close to amateurish. [22 May 1992, p.32]
    • Boston Globe
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