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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  1. No Bears
    Panahi deftly juggles his stories, merging them together in the devastating final minutes of No Bears.
  2. The Russia House
    There isn't a single chase scene in The Russia House. There's scarcely a love scene. And it dares to be slow. But it's attached to feelings as few spy movies are - and as even le Carre's book was not. The greatest compliment one can pay The Russia House is to say that it's the kind of spy movie that's making spy movies obsolete. [21 Dec 1990, p.49p]
    • Boston Globe
  3. Offside
    As funny as it is sharp.
    • 84 Metascore
    • 88 Reviewed by
      Ty Burr
    Momma's Man
    Deeper, darker currents move through Momma's Man, eddying around fears of letting go on both sides of the generational divide.
  5. Menus Plaisirs - Les Troisgros
    If you love food porn, this movie will satiate your appetite for visions of French food while providing much insight into how that food is prepared.
    • 58 Metascore
    • 88 Reviewed by
      Ty Burr
    Uncle Frank
    The movie rarely takes the easy way out of a scene, and the observational details can be rich.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    The Secret Lives of Dentists
    May not be the best movie ever made about the perils of family life, but it is among the most ruthlessly comic.
    • 76 Metascore
    • 88 Critic Score
    Dogtown and Z-Boys
    Does a terrific job of evoking the electric magic of an extraordinary era.
  9. The Secret Garden
    Simple in outline, liberating and exquisite, The Secret Garden is loaded with meaning. [13 Aug 1993, p.43]
    • Boston Globe
  10. When Fall Is Coming
    By the end of “When Fall Is Coming,” we recognize the film for what it is: a character study elevated by Vincent’s superb performance.
    • 80 Metascore
    • 88 Reviewed by
      Ty Burr
    Everlasting Moments
    Quiet, observant, and intensely moving whenever Heiskanen is on screen, and it has a valedictory sweep that feels like a summing up.
  12. Matilda
    Matilda is fresh and spirited, and while the edge on it keeps the film interesting, DeVito manages to tilt it expertly from darkness to light. [02 Aug 1996, p.E4]
    • Boston Globe
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Tyson
    Terrifically compelling and, more than that, unexpectedly moving.
  14. Notorious C.H.O.
    Her face is as much a part of her comedic form as her observations are. It's an amazing slapstick instrument, creating a scrapbook of living mug shots.
  15. Old Joy
    Kurt and Mark's trip to those hot springs is a figurative return to Eden. Anyone who's had a disillusioning reunion with a moony old friend knows what Mark discovers: They're too old to stay that innocent. None of this hit me until after the movie ended. But it hit me hard: You can't go home again.
    • 67 Metascore
    • 88 Reviewed by
      Ty Burr
    The Perks of Being a Wallflower
    The Perks of Being a Wallflower finds an unexpectedly moving freshness in the old clichés by remaining attentive to the nuances of what happens within and between unhappy teenagers.
  17. Europa Europa
    As no other Holocaust film quite has, Europa, Europa, with dreamlike clarity, refuses to let us forget that hate works. And that self-hate works even better. [19 July 1991, p.23]
    • Boston Globe
    • 86 Metascore
    • 88 Reviewed by
      Ty Burr
    Manakamana
    A haunting experience, one that requires patience (and then some) but that offers spiritual, philosophical, and aesthetic rewards beyond the immediate power of words to describe.
  19. L'Enfant (The Child)
    The arrival of closing credits feels like a trap door. The film is over, and, suddenly, we have to leave these people. The directors make no guarantee for their futures, but the strength of their filmmaking inspires you to hope for the best.
  20. The Central Park Five
    If the second hour or so isn't as strong as the first, it's because the filmmaking fails to rise to the injustice that's befallen its subjects since their exoneration. It can't, really.
  21. Wendy and Lucy
    Wendy Carroll is a character we rarely see in movies anymore, a woman left alone with her thoughts. That a moviegoer would care what she's thinking testifies to the power in Williams's brand of solitude.
  22. The Trials of Henry Kissinger
    In ''Trials,'' Hitchens is almost endearing, stalking Kissinger from one event to the next like a bleary-eyed Michael Moore.
  23. High Fidelity
    Sad, funny, brilliant.
    • Boston Globe
    • 71 Metascore
    • 88 Reviewed by
      Ty Burr
    Time of the Wolf
    Haneke has become known as a dour modern master of cinematic pain, and in this movie he scrubs civilization down to the root level.
    • 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.
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    Half Nelson
    Gosling may be the soul of Half Nelson, but Epps is the film's heart.
  27. Natural Born Killers
    Natural Born Killers is going to be a love-it or hate-it film. But it's an important film. Pumped up, jumped up, yet asking the right questions, [it] is more than an attention-grabber. It's a grenade pitched into the media tent. [26 Aug 1994, p.51]
    • Boston Globe
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    Rescue Dawn
    The question remains: Why would Herzog want to dramatize what he has already captured as nonfiction? To better control the material, I think, and to bring it in line with his own obsessions.
  29. The Perfect Storm
    'Titanic'' was a case of a cheeseball story riding terrific effects. The Perfect Storm is in every important way deeper.
    • 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.
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