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
  1. The movie shouldn't work, yet it does.
  2. What makes a rock band worth attending to a half century after its breakup isn’t its personalities or backstory or context, interesting as those can be, and here they’re all highly interesting. It’s the music.
  3. A lot of the credit for what's right with 'The 40-Year-Old Virgin goes to the screenplay, which Carell and Apatow wrote. They like these characters and, when it matters, they dare to give them feelings, none truer than Andy's.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    If Gimme Danger never quite solves the secret of Iggy’s onstage atavism — how he pushed the myth of sheer, unhinged rock ’n’ roll abandon until he embodied it better (or worse) than anyone else, ever — it reminds us of when he was, verily, the velociraptor of popular music.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    Teller is cornering a market on recklessness in the roles he chooses -- the energy from that demonic drum solo at the end of “Whiplash” seems to carry over into the ferocity with which Vinny pounds at life. He’s not very smart, he’s kind of a jerk, but he never, ever stops, and Bleed for This earns your respect for him.
  4. They're as special as special effects get.
    • Boston Globe
  5. Magnolia is "Short Cuts" with hope. It's my kind of mess.
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Cloverfield is content to be a creature feature; that's what makes it bearable and what keeps it from greatness. The genre, not the script, does the psychological heavy lifting.
  6. Kudrow and Robinson are intriguing casting and they get some sharp Bickersons material, but the movie unconvincingly shorthands how they got together. And Revolori’s horndog just feels like the film coasting on his quirky persona from “The Grand Budapest Hotel.”
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Personal Shopper is as coolly, beautifully ambiguous as we’ve come to expect from France’s Olivier Assayas, and it contains the kind of mysteries that can leave adventurous audiences tingling pleasurably while others spit out their gummi worms in frustration.
  7. Elf
    The movie sets Ferrell's assaultive and juvenile physical comedy in a less-combative playground, and the result might leave the Ferrell-intolerant exiting the theater on a high.
    • 68 Metascore
    • 75 Reviewed by
      Ty Burr
    This is a film lover's film, and as if to underscore the point, Bon Voyage opens and closes in a movie theater.
  8. What Stranger by the Lake lacks in suspense and back story it makes up for in atmosphere: It’s a subtle exercise in the pathetic fallacy.
  9. The endearing and cheeky ensemble works hard, and Ken Scott's script finds ways of wringing irreverence from the apparent good nature of the situation.
    • 68 Metascore
    • 75 Reviewed by
      Ty Burr
    Gorgeously shot (by Lee Hyung Duk) and well worth seeing for Jeon's deceptively simple performance. Unlike its heroine, though, it gets away without a scratch.
  10. Filmmaker Joe Berlinger isn’t so much inspired as disgusted by the notorious gangster in his newest documentary.
  11. What Little Children understands so well, and so poignantly, is a kind of parental existentialism that hits 30- somethings with kids: How does having children make you such a less interesting adult?
  12. Bob Roberts not only invigorates a climate polluted by the usual presidential campaign bombast; it quickens the hearts of the disillusioned by reminding us that the left needn't always forfeit the bare-knuckled approach. [14 Sep 1992, p.47]
    • Boston Globe
    • 55 Metascore
    • 75 Critic Score
    A hilarious, touching, and (except for a dip into melodrama near the end) skillful blend of subtle emotional depths and a dazzlingly playful surface.
  13. The film's indefatigable holiday spirit is infectious.
    • 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.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    It has been said before but it’s worth saying again: Gore Vidal was born to the toga, even if he never actually wore one.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Visually, this movie is big, bold, often awe-inspiring.
  14. This is a movie about the marriage between sound and image, and the sound is wearing the pants in the relationship.
  15. With Dosunmu, African culture thrives in a demographically shifting but historically African-American part of town. If the idea is that Nollywood could work in Manhattan, this is the director who can show us how.
  16. The coming of age is not just that of character but of a whole nation, and despite the mild-seeming moniker, the Jasmine Revolution earned its victories the hard way.
  17. The magic of their perfectly shaded performances is that you always have to wonder ... Is she really that bad?
  18. If you’ve ever been fortunate enough to visit this corner of the world, you’ll instantly recognize the blissful natural grandeur that Moana captures, as well as the Pacific’s intimidating vastness.
    • 84 Metascore
    • 75 Critic Score
    An epic film in every respect.
    • 69 Metascore
    • 75 Reviewed by
      Ty Burr
    It spreads the punishment around, from the executive suites of Hollywood to the mean streets of Baghdad. Everyone here comes out smelling bad - that's why the film's so good.

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