Boston Globe's Scores

Select another publication »
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
view
per page
  1. The Story of Film: A New Generation
    Watching “Story,” one realizes that so much of what most of us most love about the movies isn’t the medium, per se, but its appurtenances: stardom and glamour and the pull of narrative. What Cousins loves is the medium. We love the effects. He loves the cause.
    • 77 Metascore
    • 50 Critic Score
    Buzzard
    Potrykus seems to be going for a critique of disengaged youth stuck in a corporate dystopia of dead-end jobs and fear of life itself. But as a “Clerks” for the Millennial generation, the social commentary of Buzzard tastes about as half baked as the Hot Pocket in Marty’s toaster oven.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    Monty Python's Life of Brian
    "No God and no religion can survive ridicule," wrote Mark Twain, but for once the sage of Hannibal was wrong.
    • 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.
  5. Shanghai Triad
    A feast of a film that goes on feeding you long after you've left the theater. [25 Dec 1995, p.83]
    • Boston Globe
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Personal Shopper
    Personal Shopper is as coolly, beautifully ambiguous as we’ve come to expect from France’s Olivier Assayas, and it contains the kind of mysteries that can leave adventurous audiences tingling pleasurably while others spit out their gummi worms in frustration.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Open Hearts
    Open Hearts, like all good melodramas, is ruthless in its insistence that people are dragged, uncomprehending, in the wake of events.
  8. 8 Mile
    A hip-hop cousin of Prince's ''Purple Rain,'' which had braver fashion sense and better original songs.
  9. In Search of Memory
    There are many indicators of star power. Not the least of them is unforgettability. On screen, no less than in the laboratory, Eric Kandel has star power.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Neighboring Sounds
    Neighboring Sounds unfolds like a casual nightmare in the light of day.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    The Ghost Writer
    In Polanski’s hands, it’s an unholy pleasure: a diversion that stings.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Babyteeth
    Under Murphy’s direction, the tone is darkly comic — not what you’d expect given that plot synopsis but to which the actors respond with deftness and creativity, like downhill skiers facing a challenging slalom.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    The Jungle Book
    The chief attraction of the film is the ersatz India created by the pixel pushers at special effects houses WETA Digital and the Moving Picture Company.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    The Hunting Ground
    The Hunting Ground does a fine and fierce job of portraying campus sexual assault as a national disease. It never dares to suggest that it’s a symptom.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    While We're Young
    Baumbach has something of an evil genius for casting. If Driver — the mercurial Adam of “Girls” — and Seyfried are solid as the incoming kids, Charles Grodin (the original “Heartbreak Kid”) ruthlessly represents the boomers refusing to cede the stage.
  16. Urchin
    Dillane is onscreen for the entire film, and he gives a performance that will stick with you long after the symbolism-laced last scene.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    12:08 East of Bucharest
    For all its pessimism, the movie prompts a viewer to search his or her own memories for actions rather than reactions, and to mull over the differences between the two. It's a dark little ride, but at the end the lights hesitantly flicker back on.
  18. Shut Up & Sing
    Barbara Kopple and Cecilia Peck's film is a fascinating look at the intersection of commerce, celebrity, and controversy.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    Miss Sharon Jones!
    The strength of Kopple’s film (as opposed to the strength of Sharon Jones, which is mighty) is that it honestly depicts the vulnerabilities of an indomitable woman.
    • 77 Metascore
    • 50 Critic Score
    Jockey
    With inconsistency, [Collins Jr.] articulates the murkier and subtler aspects of a thinly written character through his physicality, revealing flashes of brilliance. But this feels undermined by directorial choices that don’t embrace or take full advantage of the potential primal nature of the performance.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Dallas Buyers Club
    By the end of this sincerely calculated, always watchable movie, everything has burned away but the fury, including whatever you may think or have thought about the actor you’re looking at. That’s how good the performance is.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    Notre musique
    Elegant, insistent movie -- a great gray filmmaker's finest in years.
  23. The Imposter
    Beverly Dollarhide, Nicholas's mother, says of the period after her son's disappearance, "My main goal in life at that time was not to think." Apparently, the filmmakers have taken a cue from her. At least her unwillingness to think makes sense.
  24. Güeros
    Güeros is brutal, ironic, madcap, and grim. Shot by Damian Garcia in black-and-white with the pristine spontaneity of Godard’s cinematographer Raoul Coutard, it is “Bande à part” (1964) meets “Los Olvidados” (1950).
  25. The Promised Land
    Though the last third of the film feels rushed, and Bennebjerg’s performance hews dangerously close to mustache-twirling-villain territory, there is much to admire and enjoy here. Arcel has made the kind of cinematic spectacle Hollywood used to excel at, but doesn’t make anymore.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    A Single Man
    There’s a lot, in fact, that keeps this film from greatness. One performance alone recommends it. That’s enough.
  27. The Messenger
    The scenes between Montgomery and Stone in plainclothes would seem to be tangential to Moverman's movie, but they're very much its point. Only in uniform do these men make sense to themselves.
  28. Under the Sea 3D
    It's all a treat to behold, and, at least where the turtle and the jellyfish are concerned, it's transcendently beautiful, too. I just wish there was more of it.
    • 77 Metascore
    • 63 Reviewed by
      Ty Burr
    Private Fears in Public Places
    Private Fears says that life is a smoldering holding pattern, but Resnais is gracious enough to blanket the embers with eternal snow.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    The Devil and Daniel Johnston
    Jeff Feuerzeig's film is as good a portrait of the artist as a beloved basket case as you'll see, but it's kept from greatness by the questions it refuses to ask itself.
Page:

Top Trailers

See all »
See all trailers »