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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    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    Factotum
    Looks steam-cleaned, and that can't be right.
  2. The Good Girl
    Despite Aniston's hard work, Good Girl could be better.
  3. Intolerable Cruelty
    The film is often at odds with itself as a sincere work of romantic comedy, as Wilder's sometimes were, too. Nonetheless, it's determined to keep Clooney's considerable comedic skills front and center. He's never been looser, sexier, or more antic.
    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    Intimate Strangers
    There's a thin line between the subtle and the dramatically inert, and Intimate Strangers pitches a tent on it.
  5. Tropic Thunder
    Despite its contradictions, the film stayed with me after I left the theater. It's frivolous. But it's also powerfully surreal.
    • 71 Metascore
    • 75 Reviewed by
      Ty Burr
    Disgrace
    It’s a harsh experience, at times engrossing, at other times stiff and unconvincing, but it asks a necessary question: What happens to the country’s whites after white rule is gone?
  7. Koch
    The documentary nicely mixes vintage news footage and photographs, talking-head interviews with journalists and Koch associates, and lots (and lots) of Koch.
  8. Good Will Hunting
    First and foremost, Good Will Hunting is a film riding young, exuberant energies.
  9. Spider-Man: No Way Home
    No Way Home is overlong and its various temporal loop-the-loops start to wear out their welcome...All that said, there’s an imaginativeness to No Way Home, along with a ton of energy, that makes the viewer cut it a lot of slack.
  10. Ralph Breaks the Internet
    The imaginative, touching, and dizzyingly animated Ralph Breaks the Internet is a sequel with a rich, broad vision that addresses all of these issues faster than you can say Fix-It Felix.
    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    Mozart's Sister
    It's a lovely dream that, in the end, feels too dreamlike. The director coaxes an intentionally passive performance from his daughter Marie, so that Nannerl's eventual waking to cold patriarchal reality doesn't sting as it might.
  12. Mad Dog and Glory
    Mad Dog and Glory is the funniest and most original studio comedy since "White Men Can't Jump." What makes it fun is its ability to find new ways to do old things. [5 Mar 1993, p.61]
    • Boston Globe
  13. Red Eye
    A one-trick action thriller that feels like a poor cousin of an episode of ''24." Call it ''12."
    • 71 Metascore
    • 75 Reviewed by
      Ty Burr
    Trumbo
    Trumbo never wavered in his belief that his persecution was only a horrible symptom. He understood the real victim of blacklist America was America itself.
    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    Travelers and Magicians
    Anyone interested in Buddhism and the chance to see the high-altitude, deep-spirited landscapes of Bhutan from a movie theater seat is herewith directed to Travellers and Magicians.
  16. My Brother Is an Only Child
    Ripe, ferociously acted comic drama.
    • 71 Metascore
    • 75 Reviewed by
      Ty Burr
    Dolls
    Dolls is an art film, and a languid, inexplicably haunting one at that.
  18. Tangled
    The movie has a field day with thousands of airborne lanterns, a troop of Neanderthal thugs (one is a mime), some surprisingly fleet camerawork, and good editing. I can't think of a cartoon more confident about how to use jump cuts for comedy. Those senses of cleverness and innovation merely underscore how shopworn the rest of this movie is.
  19. Bestiaire
    The images are meant to accumulate shame, and they do. But they also might be too much.
    • 71 Metascore
    • 75 Reviewed by
      Ty Burr
    Edge of Tomorrow
    The fact is that this is a pretty good summer-kablooie movie, and Cruise is better than pretty good in it.
  21. The Opportunists
    Goes soft in the end, but not ruinously so. Meanwhile, its loose cannons bounce off one another deliciously.
  22. Me & Isaac Newton
    As each scientist chronicles his or her story, one is impressed by the place that unswerving motivation and determination has assumed in the work.
    • Boston Globe
    • 71 Metascore
    • 75 Reviewed by
      Ty Burr
    Wonderstruck
    I walked out of the movie on a cloud of happiness that was only slightly dissipated after a night’s sleep. A critical acquaintance found the whole thing much too icky-sticky sweet. It may be a generational issue.
  24. Blue Note Records: Beyond the Notes
    A lot of jazz labels have mattered, but none has mattered the way Blue Note did — and, thanks to a proudly hip-hop-inflected present, still does. It’s the gold standard of recorded improvisational music. Sophie Huber’s briskly reverential documentary, Blue Note Records: Beyond the Notes, lets us see and hear why.
  25. Rapt
    Rapt is smooth, cool, and efficient. It's a movie with very little wasted motion - or, for much of its length, wasted emotion.
  26. Hacksaw Ridge
    It is epic in scope, intimate in detail, and otherworldly in its dimensions, like the Bayeux Tapestry with special effects and a stentorian soundtrack.
    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    Divide and Conquer: The Story of Roger Ailes
    A brisk and reasonably thorough dog trot through a life that was simultaneously invisible and all powerful, and it’s goosed along with slick production techniques that more than once get in the way.
  28. Deep Blue
    A riveting and sobering way to spend a Saturday afternoon.
    • 71 Metascore
    • 63 Critic Score
    Le petit lieutenant
    You can sense Baye's struggling within the limits imposed on her. In her own way, she can convey the heat of a Penelope Cruz, the power of Mirren, the barely contained madness of Judi Dench -- but not here. They're just not on the beat she's been given.
  30. Without Limits
    Without Limits gives us the achievement, gives us Prefontaine'sflaws alongside the considerable appeal, makes us feel his loss. It's miles beyond the previous biofilm about him, Prefontaine. It works because it makes running a subset of being maniacal - and nothing works better in a movie. [13 Sep 1998, p.N25]
    • Boston Globe
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