Boston Globe's Scores

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For 7,964 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: 5,240 out of 7964
  2. Mixed: 1,556 out of 7964
  3. Negative: 1,168 out of 7964
7964 movie reviews
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  1. My Journey Through French Cinema
    A glorious late-summer pendant.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Whose Streets?
    Whose Streets? gives us more than enough stories from people not often enough heard, and their refusal to remain silent is invigorating.
  3. Columbus
    Kogonada establishes a meditative tone and rhythm as his compositions parallel the building’s pleasing symmetries.
  4. Home Again
    Home “again”? It seems that first-timer Meyers-Shyer isn’t setting so much as a piggy toe beyond familiar territory, and this listless rom-com shows it.
  5. It
    Ultimately, cast and crew conjure up horror that’s more efficient than terrifying.
  6. Hermia & Helena
    That’s how the gifted young Argentine writer-director Matías Piñeiro makes his movies, in a style that seems casual and feels sure-handed — casual and sure-handed being about as good a combination as artistry, in any medium, has to offer.
  7. I Do... Until I Don't
    After Lake Bell’s smart, unconventional debut, “In a World. . .” (2013), her new film, I Do . . . Until I Don’t (she apparently likes ellipses in her titles), is disappointingly ordinary.
  8. Crown Heights
    The film has two big things going for it: Stanfield and Asomugha. Their characters could easily become capital-letter caricatures — Victim, Loyal Friend — but the actors give Warner and King a sense of personality, and deeply felt hurt, that stays with you.
  9. In Transit
    Mostly people talk. Lovely to look at, In Transit is even better to listen to. The documentary tells us straightaway that what we hear matters just as much as what we see.
  10. Ingrid Goes West
    Ingrid Goes West doesn’t offer Plaza a breakout role so much as a dig-deeper role. There’s a bravery to her performance that recalls De Niro as Pupkin. Actors really, really like to be liked — and understood. Ingrid is intensely unlikable — and opaque.
    • 67 Metascore
    • 75 Reviewed by
      Ty Burr
    Patti Cake$
    Patti Cake$ charts a path of rise and fall, breakthrough and disappointment, montage and romance that would be woefully predictable if we weren’t having so much fun tagging along. What’s fresh is the central figure, her talent and presence, and an exuberance that all that concrete Tri-State armor can’t hide.
  12. The Midwife
    The main reason it does not seem contrived is the performances of Catherine Deneuve and Catherine Frot. Because of their authenticity, and Provost’s mostly sure hand at maintaining mood and tone, the film is a moving immersion into the mysteries of time, memory, and mortality.
    • 80 Metascore
    • 88 Reviewed by
      Ty Burr
    Good Time
    Good Time is a prime example of what the cynical or the uninterested might dismiss as “feel-bad cinema” — low budget, kitchen-sink realism about unpleasant people in worse situations. It also happens to be one of the most uncompromising movies I’ve seen all year: vibrant and desperate and alive, it’s a work hanging on by its fingernails.
  14. Leap!
    As an orphan who dreams of joining the Paris Opera Ballet in the animated feature Leap!, Elle Fanning really hears it about the artistry and precision required to become a prima ballerina. The makers of this cheery but subpar confection probably should have been taking notes in addition to scripting them.
  15. Menashe
    Funny, heartbreaking, impeccably observed, and nearly flawless drama.
  16. Dave Made a Maze
    There aren’t sufficient words to describe the remarkable visual environment; suffice it to say that the production designers are the stars here as much as the cast. More so, really.
  17. In This Corner of the World
    The painterly beauty of anime detaches the viewer from the terrible events depicted, but it also makes these cataclysms more accessible to the imagination.
  18. The Only Living Boy in New York
    New York looks very appealing: uptown, downtown, even the little bit of Brooklyn we see. Think of “Boy” as a Bridges highlight reel and Gotham travelogue, instead of precious coming-of-age story, and it’s not half bad. But it isn’t, so it is.
  19. The Trip to Spain
    The proof that the “Trip” formula hasn’t become formulaic? How often, and hard, these two can make an audience laugh.
  20. The Hitman's Bodyguard
    Even by the junk-food standards of summer action comedies, The Hitman’s Bodyguard is overlong, over-violent, and over the top.
    • 78 Metascore
    • 63 Reviewed by
      Ty Burr
    Logan Lucky
    The new movie, a heist comedy, has been described in some quarters as “Ocean’s 11” for the NASCAR crowd, and that’s not wrong. It also feels like the director is trying to reverse-engineer one of the Coen brothers’ loopier excursions and not getting every one of the pieces in order.
  22. Step
    Step, the African-American competitive art that is the subject of Amanda Lipitz’s taut, intimate, passionate, and celebratory documentary of the same title, is not to be confused with its Irish namesake in “Riverdance.”
  23. Wind River
    All three actors are excellent. So’s Gil Birmingham, as the victim’s father.
  24. Brigsby Bear
    Sincerity turns out to be the default tone for Brigsby Bear, making this indie’s odd concept of an accidental man-child wrapped up in a Teddy Ruxpin fantasy world feel odder still in the execution.
  25. Annabelle: Creation
    If some light deja vu is the price horror fans must pay for a mainstream offering this spine-tingling, most will still come away feeling spooked and satisfied.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    The Glass Castle
    It’s a watchable disappointment that leaves mostly frustration in its wake.
    • 34 Metascore
    • 50 Reviewed by
      Ty Burr
    The Dark Tower
    The movie makes me finally want to test-drive one of the “Dark Tower” novels, if only to see what King himself was able to bring to the party. Maybe that’s been his evil plan all along.
  28. An Inconvenient Sequel: Truth to Power
    The movie reaches its emotional climax with the signing of the accords. But even under the best of circumstances, climate change offers no quick solutions. “This is a mission I have dedicated myself to,” Gore says, a mission that remains “a constant struggle between hope and despair.”
  29. Kidnap
    Maybe if the filmmakers suggested that these villains were once children with mothers themselves, it might have made their crime, and the chase that ensues, less one-dimensional.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Detroit
    Lines are drawn and connections are made. The intentions are pure. The results are enraging, often in accordance with the filmmakers’ hopes, sometimes against. Personally, I came out of Detroit angrier than I’ve been at a movie in ages, and not entirely the way director Kathryn Bigelow probably wants.
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