Boston Globe's Scores

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:
7947 movie reviews
    • 64 Metascore
    • 88 Critic Score
    The Paradine Case is more than just a big and elegant whodunit. It has smart, penetrating, clever characterization and Mr. Hitchcock has used his unexcelled craftsmanship to show the interplay of motive and mood, the power and weakness of love, the courage and cowardice of mankind. [15 May 1948, p.12]
    • Boston Globe
  1. Bi Gan’s Resurrection is trippy cinema at its best, a nearly three-hour deep dive into experimental cinema.
  2. Pillion is the story of that one relationship that defines a person, the one that finally reveals to them what they want out of sex, love, and life. We can all relate to that.
  3. Lisa Krueger's "Manny & Lo" is the most original and unexpected family-values film of the year. [09 Aug 1996, p.C8]
    • Boston Globe
  4. The cast is uniformly good, and the stories are intriguing.
  5. Rental Family is the kind of movie that should not work at all. It takes an unusual premise, one ripe for oversentimentality, and then strikes the perfect balance between heartwarming and heartbreaking.
  6. [Harris’s] Southern Gothic story of domestic violence, and the repercussions of revenge, has the aura of Greek tragedy and the darkest heart of neo-noir. Its soul is an unapologetic howl of Black female rage represented by the superb lead performances of Kara Young and Mallori Johnson.
  7. This is a time travel fable that feeds the heart as much as the brain, tipping its hat to sci-fi favorites as well as masters of animation from Walt Disney to Hayao Miyazaki. It’s an imaginative treat.
  8. Rami Malek and Russell Crowe lead a cast of actors doing excellent work in this large scale, old school ensemble piece.
  9. Ju Dou is far richer and more jolting than "The Postman Always Rings Twice," which it suggests. When it comes to film noir entrapment, we have nothing on the Chinese. [05 Sep 1990, p.63p]
    • Boston Globe
  10. Mike & Nick & Nick & Alice is full of crazy ideas, but its most daring leap occurs when Grabinski’s screenplay finds room for an investigation into the feelings of its characters. The film takes the time for everyone to get personal and emotional gripes off their chests, and does so in such earnest fashion that it balances out the absurdity.
  11. It's a terrific musical biofilm filled with drive, solid characterizations and - biggest surprise of all - musical performances that jump off the screen. [22 Apr 1994, p.33]
    • Boston Globe
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Freeman portrays Mandela not as a saint but as a man who knows he has the political freedom of being seen as one; it’s a majestically two-dimensional performance with glimpses of a third dimension peeking through.
  12. At its best, Up in the Air invents new realms for old Hollywood sophistication.
    • 85 Metascore
    • 75 Reviewed by
      Ty Burr
    Best of all, An Education isn’t alarmist. It knows other people can’t seduce us if we don’t seduce ourselves first and that Jenny is level-headed enough to handle it and learn.
  13. There’s no reason a conspiracy this outlandish should work twice. But it’s so hilariously within the realm of plausibility that it does.
    • 57 Metascore
    • 75 Reviewed by
      Ty Burr
    It pleases me to report, then, that Downey brings his brain, his wit, and his gift for intelligent underplaying, even as he understands he has been hired to play Sherlock Holmes, action hero.
    • 65 Metascore
    • 75 Reviewed by
      Ty Burr
    In short, “Imaginarium’’ is a Terry Gilliam movie and it’s a mess, which over the years have come to mean much the same thing. It’s one of his better messes, though, or at least this critic was won over by its ramshackle whimsies.
  14. Daybreakers has unexpected flashes of brilliance.
    • 81 Metascore
    • 75 Reviewed by
      Ty Burr
    Fish Tank should be seen for what it does well and for what it hints may come, if Andrea Arnold and her audiences are lucky.
  15. Streep is in movie star mode, and she’s irresistible. But Baldwin achieves something not many men have been able to with Streep: You notice him.
    • 81 Metascore
    • 75 Reviewed by
      Ty Burr
    The last time I felt the sort of outrageously kinetic action-movie high District 9 delivers, it was 1981 and George Miller, Mel Gibson, and "Mad Max 2: The Road Warrior" had just come roaring out of Australia.
  16. It’s both ridiculous and ridiculously romantic, which is an apt description of a work shaped like a heart and structured like a pretzel.
    • 71 Metascore
    • 75 Reviewed by
      Ty Burr
    This version of Where the Wilds Things Are isn’t about childhood at all but about childhood’s end and what’s gained and lost by it. That’s why very young kids, dull Disney princesses, overprotective parents, and self-serious grown-ups should probably stay away.
  17. 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.
  18. Most crucially, Barrymore encourages Page to just let herself go. The sight of her making her way up residential streets in a pair of Barbie roller skates or screaming “Marco’’ in a game of Marco Polo is simply joyful.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    It's an "Annie Hall" for the iPod generation: über-designed, pleasing to the touch, making up in generic sweetness what it lacks in bite.
    • 73 Metascore
    • 75 Reviewed by
      Ty Burr
    What Zombieland’ has instead - in spades - is deliciously weary end-of-the-world banter.
    • 28 Metascore
    • 75 Critic Score
    Pandorum is a dark, disquieting dream worth watching out for.
  19. Hooper, the director, doesn’t include lots of amazing football sequences to upstage his star. He just moves everyone out of Sheen’s way. It’s about time.

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