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. Flora and Son
    The perfect movie to curl up with on a rainy day, Flora and Son tells us that music is the tie that binds people together, whether they’re ex-lovers, potential partners, or a scared mother reaching out to her equally skittish son hoping he will reach back.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    The Lunchbox
    The Lunchbox isn’t an example of bravura moviemaking or cutting-edge style but simply a tale told with intelligence, restraint, and respect.
  3. Dave
    Short, perhaps, on originality but long on savvy and panache, Dave is a feel-good film that's bound to have a lock on the popular vote. [07 May 1993, p.25]
    • Boston Globe
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    Shine a Light
    Shine a Light did something I didn't think was possible. It got me caring about the Rolling Stones again.
  5. Chuck & Buck
    It's all we ask of a film but almost never get, as it first makes us squirm, then makes us cheer.
    • 76 Metascore
    • 75 Critic Score
    The Sleepy Time Gal
    Stunning performances help make The Sleepy Time Gal a thoughtful, moving piece that faces difficult issues with honesty and beauty.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Blue Car
    It's that central dance between teacher and student that makes the movie both hard to watch and worth your attention - a subtle waltz of power in which it's difficult to tell who's leading until too late.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    This So-Called Disaster: Sam Shepard Directs the Late Henry Moss
    Turns out to be one of the finer peeks into the creative process of staging a play. Granted, that's a tiny genre, and the film's core audience -- theater majors and the people who love them -- is narrow. The lessons, however, are big.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    A Very Long Engagement
    Flattens you with concussive detail and the awfulness of war; it plays like "Saving Private Ryan" as remade by a Continental mathematician flipping out on Ecstasy.
  10. Living in Emergency: Stories of Doctors Without Borders
    A remarkable look at the people behind an organization that understands its limitations.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    Say Her Name: The Life and Death of Sandra Bland
    By far the best part of Say Her Name: The Life and Death of Sandra Bland is that we get to see her face and hear her words.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Cartel Land
    Behind the cool, nonjudgmental gaze of Cartel Land is a despair that never comes to terms with itself.
  13. Soul Power
    The idea is to share with us that this show happened. But gluttons for these artists and for music festivals in general might wonder, as I have, whether there's any way the filmmakers might share more of the remaining 123 1/2 hours.
  14. We Grown Now
    “A place is the people,” a closing screen credit tells us. It’s a lovely sentiment, but “We Grown Now” feels more like fleeting memories of those people rather than a fully formed reminiscence.
  15. An Honest Liar
    It would violate a taboo to relate how this movie magic, masterfully orchestrated by Weinstein and Measom, is done. Their film is as smooth as Randi’s patter and demonstrates how the documentarian’s camera is quicker than the eye.
  16. The Price of Everything
    The documentary has its memorable moments. Period footage of the now-legendary 1973 auction of contemporary art by the collector Robert Scull is riveting.
  17. What's Love Got to Do with It
    It goes for broke on high-roller, high-energy scenes, and wins big. [11 Jun 1993, p.41]
    • Boston Globe
  18. Soul Kitchen
    This is a party, and you're either having a good time or wondering when Akin is going to get down to business. But for an hour and a half, fun is the business.
  19. Hail Satan?
    Goofy is easy. Earnest is easy in a different way. Disturbing is both easy and hard. They’re all dissimilar, and Hail Satan? has lots of all three.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    The Whistlers
    Much about the new film feels simultaneously playful and dangerous, with fanciful inventions like the whistling language taught to the hero by the gangsters so they can communicate out loud in secret.
  21. The Dog
    Bizarre, fascinating, and frustrating documentary.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Zola
    A cautionary tale for the fleet-fingered social media generation, Zola explodes off the screen in a burst of emoji confetti.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Midnight Special
    The truth is that this is a mystery movie, and the mystery is trying to figure out exactly what the heck is going on here.
    • 76 Metascore
    • 50 Reviewed by
      Ty Burr
    The Unforeseen
    The film's case against overdevelopment needs to be, and could be, aggressive, airtight. It should play to the unconverted. Instead, The Unforeseen gives us . . . poetry.
  25. Undertow
    Like most films about gay men, Undertow can't envision a normal life of couplehood. But Fuentes-Léon works in a blithe and breezy magic-realist manner that fends off attendant feelings of depression.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Japan
    This crudely powerful film is a throwback. Unfolding at an elliptical pace that feels like a revelation, or tedium, or both, Japon recalls the glory days of 1970s art-house filmmaking.
  27. Tickled
    By the end of Tickled the realm of superficial giggles has long been left behind. Though his lighthearted tone has difficulties keeping up with each new sinister discovery, Farrier has exposed in the least likely setting the network of power and money that preys on the weak with impunity.
  28. Brothers
    Piercingly co-written and directed by Susanne Bier, the movie dramatizes one man's collapse and the other's surprising maturation.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    The Last Station
    The movie’s a chocolate box of nougaty performances, from Christopher Plummer’s delightful depiction of Tolstoy as a ribald old naïf to Paul Giamatti twirling his waxed mustache and playing to the gallery as Vladimir Chertkov.
  30. Margin Call
    In the case of Jeremy Irons playing the aloof English billionaire who owns the bank, that's dinner theater. But it's of the highest caliber.
Page:

Top Trailers

See all »
See all trailers »