Boston Globe's Scores

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For 7,945 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 0.9 points 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: 5,227 out of 7945
  2. Mixed: 1,553 out of 7945
  3. Negative: 1,165 out of 7945
7945 movie reviews
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    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    Prince of Persia: The Sands of Time
    Stitched together from so many other movies that it plays like an attack of multiple déjà vu. Stray bits of “Star Wars,’’ “Pirates of the Caribbean,’’ “Crouching Tiger, Hidden Dragon,’’ and “Robin Hood’’ pass by like flotsam, and the overwhelming tone is good-natured but alarmingly generic.
  2. Survival of the Dead
    Romero's Hatfields-and-McCoys setup feels more random than creative, and the idea that they're all Irish -- or cowboys! -- is more desultory still.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    Agora
    At the very least, Agora finally gives Rachel Weisz a role that almost exactly matches her intense, humorless, but undeniable star charisma.
  4. Picasso and Braque Go to the Movies
    There is much to learn from Picasso and Braque Go to the Movies. First, a wealth of sharp professorial minds and great artistic eyes is no guarantee of equivalent documentary moviemaking. Second, when making a sort of thesis statement, it helps to have a thesis.
    • 27 Metascore
    • 38 Reviewed by
      Ty Burr
    Sex and the City 2
    A dunderheaded comic melodrama with clothes to die for and dialogue to shrink from. It’s downright depressing.
  6. Shrek Forever After
    To see this final installment is to know: It’s time.
    • 43 Metascore
    • 50 Reviewed by
      Ty Burr
    MacGruber
    All thing considered, MacGruber’ is a lot better than it should be. That still doesn’t mean it’s all that great.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Holy Rollers
    Even the portrayal of the Hasidic community comes to feel like window-dressing, welcome for its exoticism but never truly understood.
  9. Perrier's Bounty
    Perrier’s Bounty is all stock material, full of characters that deserve more than the cliched shootouts and showdowns that befall them. Even the movie’s most natural impulses seem to come from a can.
    • 69 Metascore
    • 75 Reviewed by
      Ty Burr
    Solitary Man
    Too shapeless and cursorily plotted to fully work as a story, but Koppelman and his co-director, David Levien, generously surround the hero with reliable actors doing solid work; if you can get past the catastrophe of Ben’s behavior, the film’s a genuine pleasure.
  11. Two in the Wave
    The documentary is primarily a work of whimsy.
    • 53 Metascore
    • 75 Reviewed by
      Ty Burr
    Robin Hood
    This Robin Hood is mostly a smart, muscular entertainment; it doesn’t breathe new life into a genre as did “Gladiator,’’ Scott’s first pairing with Russell Crowe, but it’s a brawny reimagining of a beloved old myth, a period popcorn movie turned out with professionalism and gusto.
  13. 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.
    • 50 Metascore
    • 38 Reviewed by
      Ty Burr
    Letters to Juliet
    The larger problem is that the central duo is just plain dull.
    • 51 Metascore
    • 63 Reviewed by
      Ty Burr
    Just Wright
    Just Wright is as formulaic as they come, but at its core is a surprisingly tender romantic drama.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Princess Kaiulani
    It can’t be easy to turn the story of Hawaii’s last royal into a waxworks parade, but writer-director Marc Forby has pulled it off.
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    Looking for Eric
    Eric begins this story as a sad-eyed cipher and ends it as a whole man, and maybe that’s structure enough, and reason enough, for one film.
  18. Iron Man 2
    Robert Downey Jr. looks as hung over in Iron Man 2 as he seemed drunk in “Iron Man.’’ He does his share of drinking this time, too. And the sequel makes more out of his insobriety. It has an early stretch where it fizzes and slurs, with the stars stepping on each other’s lines and feet. The movie feels drunk, too.
    • 68 Metascore
    • 75 Reviewed by
      Ty Burr
    Casino Jack and the United States of Money
    Abramoff may be in prison but the mindset that produced him -- and the pay-to-play government it needs to survive -- is triumphant.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Mother and Child
    Mother and Child glows for a good 90 minutes before an increasing reliance on contrivance and coincidence makes the lamp flicker and then fizzle out.
    • 72 Metascore
    • 88 Reviewed by
      Ty Burr
    The Oath
    The hidden message of The Oath is so inescapable as to be Shakespearean: Character will out.
  22. OSS 117 - Lost in Rio
    Gallic humor translates splendidly when it comes courtesy of Moliere. The drop-off from that height is very, very steep.
  23. Babies
    I don’t think the movie is looking for answers; it isn’t asking any questions. But by its very nature, this is both an experiment in ontology (do babies know they’re babies?) and existentialism (are they thinking about who to be?).
    • 23 Metascore
    • 12 Reviewed by
      Ty Burr
    Furry Vengeance
    Vengeance has the odor of court-ordered community service. The jokes never rise above the groin. The trees look plastic, the characters more so.
  25. The Good Heart
    Cox doesn’t so much chew the scenery as inhale it. Dano looks on in awe.
    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    Harry Brown
    After a long run of baroquely plotted crime dramas like "Layer Cake'' and "Lock, Stock and Two Smoking Barrels,'' it's a little depressing to come across a vigilante drama whose sole twist is its protagonist's advanced age.
    • 78 Metascore
    • 88 Reviewed by
      Ty Burr
    Please Give
    Please Give is a moral comedy that feels at times like one of the late Eric Rohmer’s deceptively breezy miniatures, or a mid-period Woody Allen movie minus the fussiness.
  28. The Human Centipede (First Sequence)
    Tom Six's movie has the freakiness and sadism of its genre, but it's so heavy with self-appreciation -- Dude, we had the craziest premise for a movie! -- that it can't lift off into the perverse ecstasy of decent exploitation. That was also the problem with "Snakes on a Plane.''
  29. Anton Chekhov's The Duel
    It just feels like playacting.
  30. The Back-up Plan
    Lopez smiles, whines, and blinks her way through this movie. She seems more relaxed than she ever has. And yet it seems like she’s hiding in romantic comedies, lest we discover that she doesn’t have a “Monster’s Ball’’ or even a “Blind Side’’ in her.
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