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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    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    True History of the Kelly Gang
    He (Kurzel) wants this “true history” to be a Rorschach blot of Australia’s national psychology, but he’s made something closer to splatter art instead.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    Waitress
    Waitress isn't a great film, but it is great, deep-dish fun, with a generosity of spirit that extends first to the sisters on the screen and in the audience, then to the rest of humanity.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Prodigal Sons
    There’s still enough to chew on to recommend the movie, not least the oddly touching sight of two siblings whose very identities have been altered by surgery.
    • 74 Metascore
    • 63 Reviewed by
      Ty Burr
    The Skeleton Twins
    The bitter, funny dialogue by director Craig Johnson and co-writer Mark Heyman gives the two stars room to work both comic and dramatic sides of their gifts.
  5. Terribly Happy
    The characters are intended to be slightly stupid, but the writing isn’t necessarily smarter.
    • 74 Metascore
    • 75 Critic Score
    Marina Abramovic: The Artist Is Present
    The oddest moment in this riveting documentary comes when Marina Abramovic, the performance artist, meets David Blaine, the illusionist.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    The Bridesmaid
    The film reveals its secrets slowly, and Chabrol tightens the screws not according to the rules of Hollywood suspense but with a cool, level gaze.
  8. Natural Born Killers
    Natural Born Killers is going to be a love-it or hate-it film. But it's an important film. Pumped up, jumped up, yet asking the right questions, [it] is more than an attention-grabber. It's a grenade pitched into the media tent. [26 Aug 1994, p.51]
    • Boston Globe
    • 74 Metascore
    • 63 Reviewed by
      Ty Burr
    Me and Earl and the Dying Girl
    In other words, this movie isn’t just about an adolescent boy — it pretty much is an adolescent boy.
  10. Dancing in Jaffa
    “So how are you going to get them to dance together?” Dancing never explains how. Instead, as in similar films such as “Hoop Dreams,” it focuses on the contest, reducing the participants to a handful of representative kids who end up learning something about themselves and others.
    • 74 Metascore
    • 88 Reviewed by
      Ty Burr
    Sicko
    Sicko is Moore's best, most focused movie to date -- much more persuasive than the enraged and self-righteous "Fahrenheit 9/11."
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Monster
    A gruesome, helpless spiral barely saved by an actress locating humanity where few would have cared to bother.
  13. The Lady and the Duke
    Rohmer's style saps the film of the drama that flows directly from the subject matter.
  14. Daddy Longlegs
    Any normal mother or father, seeing how the movie’s protagonist, Lenny, ostensibly supervises his two sons (Sage and Frey Ranaldo), is likely to suffer cardiac arrest.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    A Bigger Splash
    The performances are expert.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Tabloid
    It's a guaranteed good time at the movies.
    • 74 Metascore
    • 88 Reviewed by
      Ty Burr
    What Maisie Knew
    What Maisie Knew flirts with sentimentality but mostly keeps it at bay until the very end, at which point the filmmakers and we realize the kid has probably earned it.
  18. The Watermelon Woman
    Although Watermelon Woman is at times rudimentary and slight, it's saved by its humor and its way of tweaking political correctness. [9 May 1997, p.C6]
    • Boston Globe
  19. The Women's Balcony
    Rendered heartfelt and compelling by an outstanding cast.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Janis: Little Girl Blue
    I’d like to think of the singer watching this movie somewhere, nodding in thanks at what it gets right and howling with laughter at what it misses.
    • 74 Metascore
    • 100 Reviewed by
      Ty Burr
    Frankenweenie
    The movie, a simple yet immensely pleasurable tale of a little boy and his undead dog, is good enough on its own. If you know the back story, it's even better.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Divine Intervention
    The Academy accepts submissions only from real countries, and Palestine isn't one. This is as good a joke, and as dark, as anything in the movie.
  23. Black Hawk Down
    Character is almost wholly subordinated to a blast-furnace rendering of the hell into which they're dumped. Seldom will you see so many US military body parts strewn around a movie screen.
    • Boston Globe
  24. Strawberry Mansion
    Strawberry Mansion is a very strange movie. It’s at times beguiling, at other times so wackadoo inscrutable you want to groan. Either way, it’s always inventive. It’s very much its own thing, and in this movie day and age that is no small accomplishment.
  25. Southside with You
    Their non-specific excursion unfolds like a blithe Woody Allen movie without all the name-dropping.
    • 74 Metascore
    • 88 Reviewed by
      Ty Burr
    Rize
    There's a delicate balance here between expression and belligerence.
  27. Bottoms
    Bottoms has a devil-may-care approach to its satire that might have made Jonathan Swift proud. Director Emma Seligman, who co-wrote the script with this film’s star, Rachel Sennott, are unconcerned about offending audiences. If you’ve seen their last film, the 2021 cringe comedy, “Shiva Baby,” you know what you’re in for here.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Wild
    Where Wild disappoints is in the didactic, show-and-tell approach of Vallée’s direction and of the screenplay.
    • 74 Metascore
    • 100 Reviewed by
      Ty Burr
    The Ground Truth
    The documentary any American with an opinion on our involvement in Iraq owes it to his or her conscience to see.
  30. The Sea Beast
    High-seas adventure meets message movie. The adventures are good. So’s the message. The problem is that they’re sailing in different directions.
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