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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  1. Adrift
    As he did with his "Everest" cast, Kormákur draws a strong, pathos-rich performance from Woodley, filled with moments of her character confronting her own mortality and looking back on safe choices not made. It’s solid drama, but also very slow going.
    • 50 Metascore
    • 63 Reviewed by
      Ty Burr
    How to Talk to Girls at Parties
    Throw out any expectations you might have of coherent narrative structure or directorial control, and you might have a pretty good time.
    • 49 Metascore
    • 75 Reviewed by
      Ty Burr
    Mary Shelley
    If Mary Shelley disappoints, it’s only because al-Mansour sticks to the tried and true bones of the bio-pic genre and plays it stylistically safe. Maybe the filmmaker hopes to prove her skill with a big-budget period piece; if so, she easily succeeds.
  4. Upgrade
    Upgrade, Whannell’s second outing behind the camera, is yet another top-notch repair job, this time a kinetic sci-fi riff fashioned from scrap metal and human entrails, nervily updating Cronenbergian body horror for the iOS era.
  5. On Chesil Beach
    Veteran London theater director Dominic Cooke (the BBC’s “The Hollow Crown”) and acclaimed novelist Ian McEwan adapt the fractured-narrative feature from McEwan’s book, enhancing the elegant prose with additional bits of rich characterization and handsomely shot scenery.
    • 58 Metascore
    • 50 Reviewed by
      Ty Burr
    The Seagull
    The film casts Annette Bening as the vain, aging stage actress Irina Arkadina, Saoirse Ronan as the naive country beauty Nina, and Elisabeth Moss as bitter Masha, dressed in black “in mourning for my life.” Those are three excellent reasons to see the movie, and the filmmaking fights them almost every step of the way.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Solo: A Star Wars Story
    Audiences should feel free to lower their guard — to adjust expectations into B-movie territory. And as a B-movie, “Solo” delivers, sometimes in a way that reminds a viewer of this franchise’s roots in classic Saturday matinee adventure serials and sometimes simply as proficient, dutiful, time-passing entertainment.
    • 53 Metascore
    • 25 Reviewed by
      Ty Burr
    Book Club
    This feeble excuse for a comedy made me angry, and if you have any cherished cinematic feelings for the quartet of actresses at its center, you may feel angry, too.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    Pope Francis - A Man of His Word
    Pope Francis: A Man of His Word is an essay in radical humility capable of moving a viewer regardless of his or her religious persuasions, or lack thereof.
  10. In the Intense Now
    Holding it all together is his voice-over narration: always intelligent and thoughtful, sometimes wistful, occasionally navel-gazing annoying. Even when annoying, the narration sounds great, thanks to the murmury musicality of Salles’s Portuguese.
    • 66 Metascore
    • 63 Reviewed by
      Ty Burr
    Deadpool 2
    Deadpool 2 is very good at what it does, which is flattering the audience into feeling like it’s in on the joke. If you’re a doubter, though, you may wonder if the joke’s on us.
  12. Get the Gringo
    Subpar stuff with a few multiplex-worthy bits: a gonzo opening chase with the US Border Patrol, some wisecracking narration, and grungy location atmosphere. [15 July 2012, p.N10]
    • Boston Globe
      • Posted May 12, 2018
  13. Always at The Carlyle
    Though sometimes it seems like a promotional video, the film offers a glimpse into the vagaries of class, culture, celebrity, and social mores since the hotel was first established back in 1930.
    • 60 Metascore
    • 50 Reviewed by
      Ty Burr
    Jeannette: The Childhood of Joan of Arc
    Sadly, it’s not quite as fun as that sounds. If you’re up for something deeply and unsettlingly strange, though, Bruno Dumont’s portrait of the saint as a young zealot has genuine oddball pleasures amid stretches of real tedium.
  15. Life of the Party
    Thoroughly vanilla comedy, a movie jammed with well-meaning girl power messages but surprisingly little edge.
  16. Racer and the Jailbird
    Perhaps that is Roskam’s ultimate point: volition and individuality are illusory; only love and death matter. That truth comes through with somber clarity in the film’s eloquent coda, which almost makes up for the silliness that precedes it.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Let the Sunshine In
    Plays a little like “Sex and the City” as reconceived by a Minimalist composer. That makes the movie sound like a threat, when actually it’s a dry, lightly sad, and very French comedy of romantic neurosis, brought to us by two great artists, director Claire Denis (“Chocolat,” “Beau Travail,” “White Material”) and star Juliette Binoche.
    • 42 Metascore
    • 50 Reviewed by
      Ty Burr
    Overboard
    It’s an inane, absurd, fitfully amusing time-waster that ranks low on the believability scale and somewhere in the middle as mindless entertainment.
    • 71 Metascore
    • 75 Reviewed by
      Ty Burr
    RBG
    A documentary love letter to Supreme Court Justice Ruth Bader Ginsburg, and it assumes you love her too.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    Tully
    Theron is so good that when Tully climaxes by revealing whole new depths to her character, an audience can’t help but feel cheated. Maybe the rosy, complacent final scenes can fool the filmmakers, but not us, and certainly, one senses, not Theron. The movie’s over, but it feels like the star’s just getting started.
  21. Little Pink House
    Keener’s performance keeps the film grounded even as blunt scenes of the opposing camp’s machinations flirt with soap opera villainy.
  22. Disobedience
    Ronit’s ebullient spirit spreads vivacity, discontent, and resentment. She offers the possibility of choice — between secular independence or religious tradition. But Lelio opts for an insipid neutrality that does a disservice to both.
    • 68 Metascore
    • 63 Reviewed by
      Ty Burr
    Avengers: Infinity War
    Picking up where Joss Whedon, director of the first two “Avengers” films, left off, sibling filmmakers Anthony and Joe Russo have so many pairings and sparrings to work through that the movie is essentially a mixed martial arts extravaganza with a severely overcrowded undercard.
  24. Godard Mon Amour
    Godard Mon Amour is very much like a Woody Allen film, with Godard embodying Allen’s negative traits of pretentiousness, neurosis, and misogyny without the redeeming virtue of humor.
  25. Ghost Stories
    This is challenging, almost cerebral horror, infrequently indulging obvious scares when deeper-set ones lurk below.
  26. The Rider
    Chloé Zhao’s The Rider achieves what cinema is capable of at its best: It reproduces a world with such acuteness, fidelity, and empathy that it transcends the mundane and touches on the universal.
  27. Kodachrome
    The pervasive, absorbing bitterness and hurt falter only when the story eases off its characters’ cynical insistence that people don’t change. Sudeikis knows how to play jarringly nasty — see “Colossal,” for one — but choked-up can be a reach here.
  28. Grace Jones: Bloodlight and Bami
    Perhaps Fiennes’s intent is to draw the viewer into the solipsistic intensity of what it is to be Grace Jones. It is a bracing experience, because she is hedonistic, exultant, funny, and fierce.
    • 48 Metascore
    • 50 Reviewed by
      Ty Burr
    I Feel Pretty
    The movie’s a mixture of good intentions, a wobbly tone, and a plastic script, and it debuts a somewhat kinder, softer Schumer than the in-your-face comic trainwreck of “Trainwreck” (2015). I’m not sure that’s an improvement.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    24 Frames
    You’ll be in the mood for it or you won’t. 24 Frames is slow cinema at its slowest, and as meaningful as you want to make it. Above all, it breathes with the sensibility of an artist who saw beauty in people and places where most of us never thought to look.
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