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. Maudie
    The story offers many opportunities for glibness and sentimentality. Walsh falls for none of them. She enhances the grimness of Lewis’s surroundings, but does not exploit it.
    • 86 Metascore
    • 88 Reviewed by
      Ty Burr
    The Big Sick
    Trust me on this: Go.
  3. Despicable Me 3
    The laughs here are more about the colorfully zany action than the ho-hum material the cast gets.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    The Beguiled
    For all its smarts, however,the film feels the slightest bit impersonal and risk-free. Coppola has been faulted in various quarters for dropping a female slave from her remake.
  5. Soapdish
    Soapdish should have been a laugher. But this new spoof of TV soaps isn't nearly as funny as the real thing. Soapdish holds only the merest sliver of entertainment. [31 May 1991, p.28]
    • Boston Globe
      • Posted Jun 28, 2017
    • 86 Metascore
    • 88 Reviewed by
      Ty Burr
    Baby Driver
    Baby Driver is the best time I’ve had at the movies in months, and, if the world is too much with you (as it is for many of us these days), you may feel the same. It’s a dazzling diversion, a series of cinematic highs that achieve the giddiness of not great art but great entertainment (and thus art through the back door).
  7. The Exception
    In other words, it’s hopeless tosh — but expertly done hopeless tosh.
  8. The Journey
    It is a contrived, bombastic, well-intended failure.
    • 62 Metascore
    • 50 Reviewed by
      Ty Burr
    The Bad Batch
    Amirpour has the potential to see things as no other filmmaker does, but she doesn’t yet have a vision, and she may not as long as she keeps fiddling around with genre conventions laid down by others. She’s an eccentric magpie of a director, and this time the pieces she collects glitter but never quite cohere.
    • 27 Metascore
    • 25 Reviewed by
      Ty Burr
    Transformers: The Last Knight
    The plot is a canvas on which to bludgeon the audience with action sequences that have been shot for maximum overstimulation.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Rough Night
    What’s nice about this movie, actually, is that you can get a few shameless laughs out of it and then forget you saw it at all.
    • 31 Metascore
    • 38 Reviewed by
      Ty Burr
    The Book of Henry
    The plot proceeds from the charming to the manipulative to the shameless to the demented in gentle steps that may lull some audiences the way a frog can be boiled to death by degrees.
  13. Cars 3
    This is the rare movie that might benefit from silence. Partly that’s because of the squeezed syrup of Randy Newman’s score.
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    The Hero
    The Hero may not be a great movie but it’s a welcome tribute to a lanky, taciturn presence — a love letter to an actor that reminds us of why we ought to love him, too.
  15. Abacus: Small Enough to Jail
    Some of the best scenes show the family gathering after court sessions to discuss strategy, support each other, and vent.
  16. 47 Meters Down
    Not that the movie’s various shortcomings are all on Moore. British genre director and co-writer Johannes Roberts (“Storage 24”) gives her nothing but trite drama to work with in setting up the story, and an overload of distracting, reductive prattle once she hits the water.
    • 68 Metascore
    • 75 Reviewed by
      Ty Burr
    Beatriz at Dinner
    Beatriz at Dinner has been directed with subtle but damning chamber-comedy finesse by Miguel Arteta (“The Good Girl,” “Chuck & Buck”) and written by that great deadpan satirist Mike White (“Chuck & Buck,” “School of Rock,” TV’s “Freaks and Geeks”).
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    My Cousin Rachel
    My Cousin Rachel is a well-turned, well-acted literary adaptation that suffers from a built-in problem: The hero is a twit.
    • 67 Metascore
    • 50 Reviewed by
      Ty Burr
    Band Aid
    A clever and heartfelt comedy-drama that remains aloft as long as it retains its sense of humor; when the going gets serious, the dialogue turns therapeutic and heavy. Still, it’s a decent debut and an ambitious attempt to juggle tones.
  20. Megan Leavey
    Perhaps it’s just as well that other issues remain in the background and the film focuses instead on the bond between Leavey and Rex. Not only is it a compelling metaphor for a woman finding independence and empowerment, it dramatizes a primal emotional relationship that proves heartbreaking and triumphant.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    It Comes at Night
    The final scenes are both ambiguous and terrifying, and they left a preview audience as shaken as any I’ve seen. I had the distinct feeling, though, that a lot of them wouldn’t be recommending the movie to their friends. It gets very far under the skin.
    • 34 Metascore
    • 50 Reviewed by
      Ty Burr
    The Mummy
    Because the movie’s carrying a heavy load of corporate expectations, it gets pulled in different directions by competing agendas before eventually collapsing into incoherence.
  23. Dean
    Stay patient through those Seinfeldian stretches in which Martin isn’t so much acting as performing, and you’ll be treated to the bonus of some surprising emotional depth and poignancy.
    • 84 Metascore
    • 88 Reviewed by
      Ty Burr
    Graduation
    It’s the latest from Cristian Mungiu, one of the leading lights of the New Romanian Cinema and the director of “4 Months, 3 Weeks and 2 Days,” by general critical consensus one of the finest films of the new millennium. Graduation is a more quietly damning drama; it doesn’t eviscerate you like the earlier movie but instead sticks with you like a nagging doubt.
  25. Citizen Jane: Battle for the City
    A bit more internal tussle would have both better honored her spirit and made for a better documentary.
  26. Captain Underpants: The First Epic Movie
    In short, the film owns its immaturity. And the argument it appealingly offers in defense is that it’s healthy, even vital, to be able to laugh at scatological silliness, adults included.
    • 44 Metascore
    • 38 Reviewed by
      Ty Burr
    Churchill
    Unfortunately, Churchill the movie is simply dreadful, a stiff, melodramatic “Great Man” travesty that gets both the larger history and the details wrong while encouraging its star’s most overwrought excesses. What Cox serves in this movie is ham, poorly sliced.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Wonder Woman
    The first two hours run the gamut from interesting to delightful. The final 20 minutes are roaring, ridiculous business as usual. We should be thankful the tide of mediocrity is held back as long as it is.
    • 48 Metascore
    • 50 Reviewed by
      Ty Burr
    Paris Can Wait
    Paris Can Wait is Coppola’s feature solo writing-directing debut, filmed in her 80th year. It would be cheering to report that it’s a great movie, but you can’t have everything.
  30. Pirates of the Caribbean: Dead Men Tell No Tales
    Much as Bardem enlivens things, the real source of zip is Kaya Scodelario (“Maze Runner: The Scorch Trials”). Charming and spirited, she’s Daisy Ridley dialed up a notch.
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