Boston Globe's Scores

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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
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    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    The Manchurian Candidate
    The first "Candidate" was inspired pop art, a two-dimensional coloring book about 1962 America's subterranean political fears. Demme's film is more nuanced, less crazy-brilliant and, yes, probably less necessary, but it's still a confirmation of all the anxieties out there on the table and festering in our heads.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    The Lovers
    A lot of the humor, sage as it is, comes from the players, Winger and Letts in particular.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Greenberg
    Noah Baumbach makes nature documentaries disguised as indie comedy-dramas.
  4. The Girl with the Dragon Tattoo
    The movies rarely gives us a woman as fascinatingly complex as Lisbeth Salander, and the happiest news about the two sequels is that she’ll be back.
  5. The Fire Inside
    What makes “The Fire Inside” so powerful is the uncomfortable questions it poses: How responsible is a person for their family’s well-being?
  6. Operation Homecoming: Writing the Wartime Experience
    Hits far more marks than it misses. And no work has brought viewers deeper inside the psychology of war. [06 Apr 2007, p.D10]
    • Boston Globe
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
    A gracefully subtle metaphor about life's Deep Magic has become a war film; what was a one-chapter battle toward the end of the book is now a ripsnorting Armageddon that looks like something Hieronymus Bosch might dream up after a heavy meal.
  8. Encanto
    Surely it’s no coincidence that Encanto is set in the homeland of the literary master of magical realism, Gabriel García Márquez. That’s what Encanto is, magical realism brought to the screen by way of the Magic Kingdom.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    The title itself is a marquee-buster that bites off more than it can chew. So does the movie’s main character and so does the movie. But the chewing’s interesting and there’s food for thought here, not to mention a central performance that may stick to your ribs for quite some time.
  10. Taboo
    The intriguing subject, unfortunately, collapses under too many talky scenes of the samurai discussing their feelings and gossiping about who loves whom.
    • Boston Globe
  11. The Life and Times of Hank Greenberg
    While it preserves his baseball feats, it looks beyond them to clarify Greenberg's place in American culture.
  12. State and Main
    Good clean dirty fun.
    • 75 Metascore
    • 75 Critic Score
    OT: Our Town
    Director Scott Hamilton Kennedy finally gives us a reason to feel warm and fuzzy about Compton, Calif. It's not an easy feat.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    Mistress America
    What it feels like, mostly, is a Whit Stillman movie made by someone other than Whit Stillman.
    • 75 Metascore
    • 88 Reviewed by
      Ty Burr
    Young@Heart
    Sloppily made at times and it comes close to wearing out its welcome, but you can't blame Walker for not wanting to let his subjects go. And as the movie progresses, a viewer begins to understand why: These people are literally singing for their lives.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    Rango
    You can feel the actors tossing energy, one-liners, and limbs off each other with gusto.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    Border
    Is it horror? Drama? Love story? Allegory? Maybe best to think of it as a chilly Scandinavian bedtime tale, the type to unsettle bothersome children and leave them identifying with the ogre.
  18. Emily the Criminal
    What Emily the Criminal really is is a character study; and this is where Plaza comes in. She’s the really good thing the movie has going for it. Over the course of 96 minutes, Emily will do some surprising things. Plaza makes them seem as natural as swiping a credit card, and in both senses of the verb.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    Frank
    Walking a line between droll comedy and a darker, more unsettling drama that the filmmakers aren’t quite up to, Frank is an entertaining curio with flashes of inspiration. That’s also a pretty good description of Frank’s music.
  20. Europa Europa
    As no other Holocaust film quite has, Europa, Europa, with dreamlike clarity, refuses to let us forget that hate works. And that self-hate works even better. [19 July 1991, p.23]
    • Boston Globe
  21. Easy Money
    In some ways Easy Money recalls Steven Soderbergh's "Traffic." They have drug dealing in common, of course, but also a sense of constant swirl and density of onscreen population.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    The Art of the Steal
    The movie’s never less than entertaining, but you often feel like arguing with the screen, and not in a good way.
  23. Tokyo Godfathers
    Demonstrates an idiosyncratic human touch. Kon is unafraid of the unseemly and unsightly. People are captured as they really might be.
  24. The Naked Gun
    Nothing will replace the original in your hearts and minds. But you’ll still have a good time here.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    Sleepless Night
    It's fast, lean, satisfying, and forgettable; nothing special, really, until you realize that the movies have largely lost the knack for brisk mayhem like this.
  26. Fear and Trembling
    As wonderful as Testud is, her character doesn't make much sense.
  27. Power Trip
    Part Marxist social drama and part Michael Moore corporation-needling, with fed-up residents trying to outsmart the big, bad naive company to keep their lights on for free.
  28. Man on the Train
    There's the air of sadness and worry all over this movie, and sometimes it's heavy. But it's air all the same.
  29. Possession
    The genius of Zulawski is that he's dispensed with all the buildup and explanation and logic. How many horror-movie explanations make any sense? He just made an entire movie out of the scary parts, the way a different genius concocted only the muffin top and some pop music producers give you 10 minutes of beats and chorus. Possession climaxes for two whole hours. It's as if, with "The Shining," Stanley Kubrick found 25 variations on "here's Johnny" and "red rum." [17 Nov 2012, p.G5]
    • Boston Globe
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    My Little Sister
    My Little Sister comes from an unusual creative team: Stéphanie Chuat and Véronique Reymond, Swiss friends from childhood who write and direct films together. Their fourth feature, it combines a fluid visual realism — there are some astonishing sequences of Alpine parasailing — with an emotional intimacy that’s its own form of jumping off a cliff. This time, they’re collaborating with an actress willing to take a blind leap and bring us with her. It’s a bracing trip, a work of daredevil nerve that serves as its own reward.
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