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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    • 73 Metascore
    • 50 Critic Score
    Fantastic Planet
    Some will say weird is fun for its own sake, but we say weird does not equal cinematic satisfaction. [05 Mar 1999, p.C6]
    • Boston Globe
  2. Badlands
    Badlands is one of the great banality-of-evil films. [29 May 1998, p.C9]
    • Boston Globe
    • 84 Metascore
    • 88 Reviewed by
      Ty Burr
    The Friends of Eddie Coyle
    Remembered for being the best Boston movie of all time. [27 Feb 2005]
    • Boston Globe
  4. The Discreet Charm of the Bourgeoisie
    Slly, sublime, buoyant mischief that is virtually without parallel in 20th-century art, much less 20th-century film.
    • Boston Globe
  5. Le Samouraï
    Melville's austere yet sensuous reinvention of the genre's macho honor and trenchcoated, fedora-wearing iconography, coolly projected by Delon's expressionless face, makes "Le Samourai" a pungent and pleasurable experience still. [02 May 1977, p.D7]
    • Boston Globe
    • 65 Metascore
    • 75 Critic Score
    Buck and the Preacher
    A modest entertainment made intriguing by the race element. [15 May 1972, p.14]
    • Boston Globe
    • 75 Metascore
    • 75 Critic Score
    THX 1138
    For someone wanting to get noticed as a filmmaker, George Lucas couldn't have done much better than THX 1138, his 1971 feature debut that starts a limited run today in a new director's cut.
  8. Brewster McCloud
    As Altman misfires go, Brewster McCloud is one of the better ones. [25 Jul 2010, p.12]
    • Boston Globe
    • 85 Metascore
    • 100 Critic Score
    Gimme Shelter
    The impact of this stunning film - and the lessons to be learned from it - are as remarkable as when it was first released 30 years ago.
    • Boston Globe
    • 94 Metascore
    • 88 Reviewed by
      Ty Burr
    The Wild Child
    Nearly four decades after its release, The Wild Child remains startling for its humane clarity, for Nestor Almendros's brilliant black-and-white photography, and for the sense that Truffaut is achieving filmmaking mastery on a very small scale.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Watermelon Man
    Directed by Melvin Van Peebles as the '60s writhed to a close, it's very much a product of its time: unsubtle, psychedelic, truly weird, occasionally very funny. [08 Dec 2002]
    • Boston Globe
  12. The Boys in the Band
    William Friedkin directs the adaptation of Matt Crowley's off-Broadway play about a group of gay men in Manhattan speaking increasingly frankly as a birthday party wears on. Sufficiently effective that you wonder what Friedkin was thinking with Cruising. [09 Nov 2008, p.N16]
    • Boston Globe
    • 23 Metascore
    • 25 Critic Score
    Hercules in New York
    When you become a megastar like Arnold Schwarzenegger, you must expect your past to jump up and bite you - especially if you've made a stinker like this one. A great rental for frat parties, this Manhattan melodrama features Zeus sending Arnold, as Hercules, to present-day New York. [06 Dec 1991, p.62]
    • Boston Globe
    • 86 Metascore
    • 88 Reviewed by
      Ty Burr
    Z
    Hollywood political thrillers have absorbed this movie's you-are-there filmmaking grammar. Rarely have they re-created its fire.
  15. Romeo and Juliet
    Franco Zeffirelli's reputation as a popularizer of Shakespeare stems from this gusty swirl of a 1968 production built around - and aimed at - teens. The uncomprehending looks on the faces of Leonard Whiting's Romeo and Olivia Hussey's Juliet only increase the film's demographic pull, as poetry is replaced with prettiness. [18 Jan 1991, p.32p]
    • Boston Globe
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    The Producers
    The one aspect of the original Producers that still stuns is the roaring, over-the-top, in-your-face thereness of its two lead performances.
    • 90 Metascore
    • 100 Reviewed by
      Ty Burr
    The Good, the Bad and the Ugly
    Gorgeously stoic art film.
  18. The Graduate
    The Graduate is not subtle in its writing off of the parental generation as hopelessly corrupt. [Review of re-release]
    • Boston Globe
    • 67 Metascore
    • 88 Critic Score
    Reflections in a Golden Eye
    Overlooked on its initial release in 1967, Huston's adaptation of Carson McCullers's novel still feels unsettling and cutting-edge nearly 40 years later. [28 Sep 2006, p.26]
    • Boston Globe
    • 93 Metascore
    • 88 Reviewed by
      Ty Burr
    Masculine Feminine
    Remains worth seeing as an achingly nostalgic farewell to youthful idealism, tinged with a kind of loving contempt.
    • 98 Metascore
    • 100 Reviewed by
      Ty Burr
    Au hasard Balthazar
    To see Au Hasard Balthazar is to understand the limits of religious literalism in movies -- the limits, even, of movies themselves. Bresson pares everything away until all that's left are the things we do and the hole left by the things we could have done but didn't.
  22. A Hard Day's Night
    In a crisply restored print, it's as joyous as ever. We loved them - yeah, yeah, yeah. Now we can love them all over again.
    • Boston Globe
  23. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    The phone scene, in which he's on the hot line to his Russian counterpart, is a classic of prevarication, a masterpiece of nothingspeak in the face of disaster. [28 Oct 1994, p.48]
    • Boston Globe
    • 88 Metascore
    • 100 Critic Score
    To Kill a Mockingbird
    There is not only artistry in the development of the story - there is beauty, sympathy and emotional appeal in almost every scene.
    • 87 Metascore
    • 75 Critic Score
    Cléo from 5 to 7
    Cleo from 5 to 7, a sort of combination between realism and avant-garde imagination, is the kind of film that young people, learning to appreciate foreign-made pictures, will find stimulating. [15 Feb 1963, p.8]
    • Boston Globe
  26. Elevator to the Gallows
    The film's look makes a divine accessory for its music, which Miles Davis composed. There's not even 20 minutes of it in the film, yet it still defines the atmosphere, transforming a crime yarn into a bebop noir.
  27. La Dolce Vita
    Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall.
    • 96 Metascore
    • 100 Critic Score
    Breathless
    Breathless is not an antique or a classic. It is still a new film, because it makes you feel cinema is still new. [18 Nov 2007, p.N9]
    • Boston Globe
  29. Spartacus
    Spartacus stands up handsomely. At times it's even stirring, as in Woody Strode's performance as the African gladiator who, in sparing Spartacus' life, opens his eyes. Spartacus is one of Hollywood's great comic strips. [3 May 1991, p.45]
    • Boston Globe
  30. The Entertainer
    Certainly none of Olivier's other contemporary film characters matches Archie's resonances. We're lucky to still have The Entertainer. [04 Aug 1989, p.41]
    • Boston Globe
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