Boston Globe's Scores

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For 7,945 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: 5,227 out of 7945
  2. Mixed: 1,553 out of 7945
  3. Negative: 1,165 out of 7945
7945 movie reviews
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    • 80 Metascore
    • 75 Reviewed by
      Ty Burr
    David Crosby: Remember My Name
    While Crosby is painfully frank throughout this documentary about his knack for destroying friendships and driving people away (we learn in one brief aside that there’s a daughter who hasn’t spoken to him in years), one senses that it’s easier for him to say these things now than to have done the hard, human work of repair. David Crosby: Remember My Name is a testament of achievement and a portrait of ego, but it never quite gets past its subject’s illusions to properly consider his art.
    • 69 Metascore
    • 63 Reviewed by
      Ty Burr
    Leto
    Little of this comes through in the film, which is about the mayfly moment and three people at its center. For those who don’t have enough information to connect the dots, that may not be enough. Maybe you had to be there, but it’s a movie’s job to take us, and this one gets only partway.
  3. Mike Wallace Is Here
    Belkin’s smart, dynamic documentary shares its subject’s slam-bang style. That’s good. Watching it is exhilarating. It also shares Wallace’s aversion to nuance. That’s less good. Belkin has a weakness for split screens and rapid-fire editing. In fairness, that’s one way to cram in more material, and Belkin has lots (and lots) of material to cram in.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Fast & Furious Presents: Hobbs & Shaw
    "Hobbs & Shaw” is fine summer meathead entertainment, a brainless bone-cruncher with clever players, a decent script, and enough demolition derby mayhem to satisfy the yahoo lurking within the most civilized of moviegoers.
    • 69 Metascore
    • 75 Reviewed by
      Ty Burr
    Asako I & II
    The movie keeps you guessing, mostly in pleasure, at both its meanings and its methods.
    • 84 Metascore
    • 100 Reviewed by
      Ty Burr
    Once Upon a Time ... in Hollywood
    The byplay between DiCaprio and Pitt is delicious and finely drawn — you’d better believe Tarantino knows he’s dealing with two of our last old-school movie stars and sneakiest actors.
    • 65 Metascore
    • 50 Reviewed by
      Ty Burr
    The Art of Self-Defense
    Casey is possibly on the spectrum, but one of the problems with The Art of Self-Defense is that all the other characters seem to be, too.
    • 89 Metascore
    • 88 Reviewed by
      Ty Burr
    The Farewell
    Like her heroine, Wang straddles the fence and argues from either side of it; like her, the movie is profoundly Chinese-American, speaking to both audiences and able to be enjoyed by both.
  9. Sword of Trust
    Sword of Trust has a dogged weirdness all its own, a singularity that extends to Maron having written the excellently jangly score. When was the last time you saw — or heard — a movie where the star composed the music? It’s just part of the its-own-world quality of Sword of Trust.
    • 55 Metascore
    • 50 Critic Score
    The Lion King
    If The Lion King redux sounds wild, the result is surprisingly tame.
    • 42 Metascore
    • 38 Reviewed by
      Ty Burr
    Stuber
    With a by-the-numbers screenplay by Tripper Clancy and assembly-line direction from Michael Dowse (see his 2013 hockey comedy, “Goon,” instead), Stuber is just the umpteenth iteration of the buddy-cop action drama pioneered by “48 Hrs.” almost 40 years ago.
    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    The Third Wife
    It’s a strong story with devastating implications, but also one told at an artistic remove that renders its meanings less subtle than diminished. There’s a fury underlying this film that goes unexpressed to the point of almost going unacknowledged, and it saps The Third Wife of a strength and momentum it could use. If Ash Mayfair ever taps into that fury, she may become a filmmaker to reckon with.
  13. Maiden
    Unless you’re familiar with the various particulars, you’ll likely find yourself experiencing the film in aptly wavelike fashion, cresting with optimism about the crew’s prospects before plunging into apprehension, again and again.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Under the Silver Lake
    The dread in Mitchell’s film never cuts to the bone, because we never really care about his characters.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Midsommar
    Much of the horror in Midsommar unfolds in bright sunlight; it’s the star who really takes us into the dark.
    • 69 Metascore
    • 75 Reviewed by
      Ty Burr
    Spider-Man: Far from Home
    Spider-Man: Far from Home isn’t really a superhero movie. It’s a wholesome teen comedy disguised as a superhero movie.
    • 60 Metascore
    • 50 Reviewed by
      Ty Burr
    Ophelia
    What sinks the movie (rather than the character) are the tortured melodramatics of its backstage plot and dialogue that aims for clever — and sometimes is — but that generally approximates Shakespeare for, like, beginners.
  18. The Proposal
    Magid has made a film that’s cool, assured, and understated. Someone should sign her up to direct a techno-thriller. In which case, she should collaborate again with T. Griffin, whose stripped-down score never calls attention to itself even as it propels and enhances what we watch.
    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    Yesterday
    It’s content to keep things light and predictable, with the result that one of the richest song catalogs known to man is here to prop up an increasingly formulaic and far-fetched love story. Yesterday makes less sense the longer it lasts, albeit with some good bits along the way.
  20. Framing John DeLorean
    Argott and Joyce subordinate these more pressing political questions to a mirror-box exploration of the nature of truth and the unfathomable secrets of the soul. As such it is thoughtful, sometimes ingenious, but you can’t help thinking that they missed the real story.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    The Eyes of Orson Welles
    Early in the documentary The Eyes of Orson Welles, a box is taken out of long years of archival storage at the University of Michigan and opened to reveal an entire alternate career: pages upon pages of Welles’s graphic artwork. For this, Mark Cousins’s documentary is necessary viewing. For the glutinous narrative voice-over of Cousins himself, it’s decidedly less so.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    The Quiet One
    The movie is congenial, self-effacing, and reasonably dull, and since it promises an inside look at 30 years of being a Rolling Stone, that has to be considered a disappointment. On the other hand, Oliver Murray’s film about the life and times of Bill Wyman offers proof that even average blokes can be rock stars, and maybe more of them than we think.
    • 84 Metascore
    • 100 Reviewed by
      Ty Burr
    Toy Story 4
    A hugely entertaining and emotionally resonant pleasure for audiences of all ages.
  24. The Last Black Man in San Francisco
    The movie is daring and unconventional. It’s daring in feeling so static, with a distinctive, unhurried rhythm. It’s unconventional in letting evocation drive plot more than events do. It can feel a bit dreamlike that way. A melancholy lyricism defines the movie.
  25. Echo In the Canyon
    Demonstrating a mastery of euphemism and understatement, Ringo recalls how the Byrds “introduced us to a hallucinogenic situation, and we had a really good time.” Consistently amiable, if a bit wandery, Echo in the Canyon provides a good time, too.
  26. 5B
    Haggis and Krauss’s desire to use the ward as a vehicle to tell a much larger and more complex story makes sense. Yet it ultimately takes away from the truly remarkable story they have to tell, a story that may actually be more complex than matters of government policy and public opinion.
  27. Men in Black: International
    Although Hemsworth and Tessa Thompson aren’t at all bad together, neither do they strike sparks. That’s unfortunate, since the movie flirts, and that is the word, with the idea of a romance between them.
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    Late Night
    Don’t be surprised if you come out wishing that there actually were a late-night comedy show starring Emma Thompson instead of just a movie about one.
    • 53 Metascore
    • 38 Reviewed by
      Ty Burr
    The Dead Don't Die
    Jim Jarmusch’s The Dead Don’t Die may not be a gifted filmmaker’s worst movie, but it’s certainly his most cynical — a unique cinematic worldview reduced to schtick.
  30. Walking on Water
    The documentary has a pleasing offhandedness. The same cannot be said of its subject. Christo, who turns 84 on June 13, is precise and highly directed.
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