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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  1. CODA
    Ruby is an underdog worth rooting for, and Jones (the Netflix series Locke & Key) is terrific. She’s like a cross between the young Winona Ryder and the young Kate Winslet. The comparison flatters all three.
  2. Bros
    The comedy is largely episodic and breezy, bolstered by strong support from Debra Messing, Amanda Bearse, Bowen Yang, Jim Rash, Kenan Thompson, Amy Schumer, and Kristin Chenoweth.
  3. Road to Perdition
    Its seriousness is welcome. It's also a burden the film can't completely surmount.
  4. Broadway: The Golden Age, by the Legends Who Were There
    It's the videotaped equivalent of a primary research data dump. But to quote Bette Davis by way of Edward Albee: What a dump.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Ammonite
    The sex scenes, when they arrive, are unexpectedly, passionately frank, and the characters and the film alike seem stunned in their aftermath. It’s not a movie that has figured out how to end.
  6. Climates
    It's one of the great movies on the vicissitudes of love, commitment, and attraction.
    • 72 Metascore
    • 88 Critic Score
    Skate Kitchen
    A coming-of-age story set on four wheels, has the distinct charm of a film assured of its voice, even as its central character strives to find her own.
    • 72 Metascore
    • 88 Reviewed by
      Ty Burr
    Gone Baby Gone
    The joke's on us, it turns out; as a director, Affleck has come through with a sharp, morally ambiguous piece of pulp crackerjack.
    • 72 Metascore
    • 88 Reviewed by
      Ty Burr
    The Insult
    The Insult is optimistic enough to leave the door open to hope. But it’s also realistic enough to only leave it ajar.
    • 72 Metascore
    • 88 Reviewed by
      Ty Burr
    Magic Mike
    Director Steven Soderbergh is working very near the top of his game here, and if Magic Mike tells an old, old story about a young man, his talent, his rise, and his fall - see everything from "Saturday Night Fever" to "Boogie Nights" - he brings the confidence of a born filmmaker and a cast that's sharper than their characters and ready to play.
  11. Straight Outta Compton
    F. Gary Gray’s Straight Outta Compton starts out strong, peaks quickly, and then gets tangled in complications and compromise and falls apart.
  12. Tale of Tales
    Despite the fabulism of Tale of Tales, it remains rooted in contemporary issues. Prince Charming does not figure much in this film, but women do.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Shithouse
    The movie won the grand prize at this year’s Slamdance, an even more indie Sundance-adjacent festival, and it marks the arrival of an earnest talent in writer-director-star Cooper Raiff. It’s also the rare youth movie to dispense with cynicism and wear its heart on its sleeve.
  14. Matilda
    Matilda is fresh and spirited, and while the edge on it keeps the film interesting, DeVito manages to tilt it expertly from darkness to light. [02 Aug 1996, p.E4]
    • Boston Globe
    • 72 Metascore
    • 88 Reviewed by
      Ty Burr
    New York Doll
    You're left with the bewilderment and joy on Kane's face as he plays the old songs, and the sense of ghosts just behind his back.
  16. All the Money in the World
    A better title might have been “All the Movies in the World.” We get a thriller, of sorts, and a crime movie, of sorts (Romain Duris, as a kidnapper, gives the most appealing performance). It’s also a morality tale crossed with family melodrama.
  17. Still Mine
    Though admirable in ambition, McGowan’s decision to broaden his simple story’s scope diminishes an affecting melodrama about the increasingly common, insufficiently acknowledged plagues of dementia and Alzheimer’s disease.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    The Cabin in the Woods
    The movie balances nicely on the edge of meta-horror, with characters breaking free of their assigned roles (in more ways than one) and monkey-wrenching the very urban legend they're dying to get out of.
    • 72 Metascore
    • 63 Reviewed by
      Ty Burr
    Mesrine: Public Enemy No. 1
    By the end, Mesrine: Public Enemy #1 has turned nearly as flabby as its aging antihero.
  20. Miami Blues
    Miami Blues is just good enough to make you wish Demme would come back with Ward and direct another film based on Willeford's deceptively casual you-saw-it-here-first laser-beam vision of Miami as surreal American litmus. [20 Apr 1990, p.31]
    • Boston Globe
  21. Friendship
    Robinson’s dedicated commitment to the bit is a given, but the bit is so one-dimensional that Craig stops being believable or human.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Charlie and the Chocolate Factory
    The movie's overlong and there are lumps in the batter, but this is a ''Charlie" that the author would recognize as upholding his playfully dyspeptic tradition.
    • 72 Metascore
    • 63 Reviewed by
      Ty Burr
    Headhunters
    It's crisp entertainment even as plot absurdities gum up the works.
  24. Quinceañera
    At its core, Quinceañera, a modest but remarkably poignant comedy, is the story of a neighborhood.
  25. Marcel Proust's Time Regained
    You can count on the fingers of one hand the number of works in any given year to which one is moved to apply the word ''masterpiece.'' Raul Ruiz's Time Regained is one of them.
  26. The Trials of Henry Kissinger
    In ''Trials,'' Hitchens is almost endearing, stalking Kissinger from one event to the next like a bleary-eyed Michael Moore.
  27. Stone Reader
    A deep, exhaustive, and moving piece of do-it-yourself detective work.
    • 72 Metascore
    • 63 Reviewed by
      Ty Burr
    All or Nothing
    Grueling, heavy-handed, and surprisingly insight-free. For once, a gaggle of Leigh characters hasn't jelled beyond the level of its cast's conceits.
  29. Bowling for Columbine
    Moore's roving essay feels even more urgent now than it did when the jury had to make up an award to honor it at the Cannes film festival in May.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Brittany Runs A Marathon
    Thankfully, the movie approaches this subject the way one might a used car, with suspicion and an extra helping of mordant humor. It just folds in the endorphins gradually, until you understand why audiences voted it their favorite film at this year’s Sundance Film Festival.
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