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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    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    A Hijacking
    A Hijacking tells a simple story whose ripples ultimately turn into tidal waves.
  2. Finding Dory
    Much of the plot is outrageously, if also cheerfully, implausible — except that, in a context of talking fish, what qualifies as implausible? The important thing is how everything rings true emotionally.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    Short Term 12
    He (Cretton) just loves this place and these people so much, he wanted to give us more of them. For that, we should be grateful.
  4. Far Out Isn't Far Enough: The Tomi Ungerer Story
    Bernstein communicates Ungerer’s manic spirit and his irrepressible creativity by punctuating the conventions of talking-head interviews and archival footage with animated snippets of Ungerer’s thousands of illustrations.
  5. Portrait of Jason (re-release)
    Artistically, though, you can’t help but trust him. Like any star turn, Holliday’s performance rings utterly true. It’s that indefinable but unmistakable reality-beyond-reality called art.
  6. Fill the Void
    Burshtein has achieved a gripping film without victims or villains, an ambiguous tragedy drawing on universal themes of love and loss, self-sacrifice and self-preservation.
    • 86 Metascore
    • 88 Reviewed by
      Ty Burr
    Nebraska
    It’s a movie that floods you with emotion when you least expect it.
    • 71 Metascore
    • 88 Reviewed by
      Ty Burr
    22 Jump Street
    A hugely enjoyable shambles. It’s a comic deconstruction of that most useless of Hollywood artifacts — the blockbuster sequel — that refuses to take itself seriously on any level, which, face it, is just what we need as the summer boom-boom season shifts into high gear.
    • 64 Metascore
    • 88 Reviewed by
      Ty Burr
    Nymphomaniac: Volume I
    Seems calculated to shock, but what’s most disquieting about Nymph()maniac is how funny, tender, thoughtful, and truthful it is, even as it pushes into genuinely seamy aspects of onscreen sexuality. Obnoxious he may be, but von Trier knows how to burrow into our ids.
    • 70 Metascore
    • 88 Reviewed by
      Ty Burr
    The Painting (Le Tableau)
    Creative, colorful, and unexpectedly wise, The Painting is the latest offshore animation to show to kids burned out on computer-generated Hollywood toons.
  11. Berberian Sound Studio
    Though “Berberian” bogs down a bit in its infernal spiral, Strickland proves himself to be a rising talent — a master of sound and fury both.
  12. The Immigrant
    The characters look as if they’d be more comfortable with intertitles than spoken dialogue. And the faces — Marion Cotillard as Ewa, the beleaguered Polish immigrant of the title, holds a close-up as well as Lillian Gish or Louise Brooks.
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    The Past
    The Past, the new film from Iranian director Asghar Farhadi, is taut, quiet, democratic, observant — a fine meal made with rare and subtle ingredients.
  14. Always
    You expect virtuosic technique from Spielberg, and it's there, in spades. What you don't expect is heartfelt romanticism. But that's there, too... Always is a terrific-looking throwback to those large-scale '40s cinematic stews of romantic longing. [22 Dec. 1989, p.43]
    • 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. High Hopes
    Never settling for mere irony, High Hopes becomes a small banner of sanity and good humor among the social ruins. Leigh never shies away from his unflinching dead-end class view of contemporary London. Nor does he wallow in '60s nostalgia. Which is part of the reason his passionate, life-embracing High Hopes is so exhilarating. [31 Mar. 1989, p.30]
    • Boston Globe
  17. Blackfish
    What’s on camera is both damning and expertly assembled, a filmmaking effort worthy of standing with 2009’s Oscar-winning documentary about dolphin abuse, “The Cove.”
    • 68 Metascore
    • 88 Reviewed by
      Ty Burr
    Chef
    An engaged, engaging voyage of (re)discovery that’s too in love with its subject to qualify as food porn. It’s food romance.
  19. Child's Pose
    Of all the great monster mothers in cinema history, Cornelia Keneres (Luminita Gheorghiu, who sets the standard other performances should be judged by this year) ranks high on the list.
    • 84 Metascore
    • 88 Reviewed by
      Ty Burr
    Snowpiercer
    On the level of a popcorn thrill ride, Snowpiercer is a beaut.
    • 81 Metascore
    • 88 Reviewed by
      Ty Burr
    Foxcatcher
    The movie’s tone is hushed, restrained; emotional damage is crammed way back where no one can see it yet defines everything through a murky prism.
  22. Wadjda
    The world of cinema is richer for the voice of Al Mansour; she speaks for the women of her country, and for people everywhere.
  23. Mystery Science Theater 3000: The Movie
    Mystery Science Theater 3000 restores your faith in an ordered universe, compelling you to reflect that those campy movies from the '50s and '60s did, after all, have a purpose, although it wasn't easy to discern at the time. [19 Apr 1996, p.54]
    • Boston Globe
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    The Wind Rises
    Should you see it? Of course you should. Anything Miyazaki does is worth your time. But the movie’s a gorgeous, problematic anomaly in an illustrious career.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    Philomena
    Philomena is a tearjerker of rare honesty and craft.
    • 87 Metascore
    • 88 Reviewed by
      Ty Burr
    We Are the Best!
    A messy, congenial empowerment story that knows how aggravating adolescence can be when you refuse to fit in.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Under the Skin
    What’s under the film’s surface is intriguing enough, but it’s the surface itself that holds you in a dark trance. A portrait of alienation filmed from the alien’s point of view — or is it just a woman’s? — the movie’s a cinematic Rubik’s Cube that snaps together surprisingly easily, yet whose larger meanings remain tantalizingly out of reach.
  28. Abuse of Weakness
    Huppert’s amazing performance not only masters the physical rigors and deformations of her character, but more importantly captures her cold capriciousness and the enigmatic innocence that one of Maud’s friend’s labels “perverse.”
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Locke
    The seductively gripping cinematic stunt that calls itself Locke bears a slight resemblance to the recent “All Is Lost.”
  30. The Unknown Known
    “The Fog of War” (2003), about McNamara, won Morris a best documentary feature Oscar. The Unknown Known takes its title from a favorite phrase of Rumsfeld. It also accurately describes its subject, whose smiling inscrutability makes him consistently fascinating and often maddening.
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