Boston Globe's Scores

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For 7,964 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: 5,240 out of 7964
  2. Mixed: 1,556 out of 7964
  3. Negative: 1,168 out of 7964
7964 movie reviews
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  1. 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.
  6. 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.
  10. 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.
  11. 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.
  13. 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.
  16. 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.''
  17. Anton Chekhov's The Duel
    It just feels like playacting.
  18. 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.
  19. The Losers
    The amusement it provides is cheap, disposable, and hardly worth the number of quarters you fed into the slot in a frenzy not to go home empty-handed.
  20. Best Worst Movie
    It captures a version of our best worst selves.
    • 69 Metascore
    • 63 Reviewed by
      Ty Burr
    The Good, the Bad, the Weird
    It’s a lot of fun before it wears you out, and it wears you out sooner than it should.
  22. Oceans
    Unlike in “Winged Migration,’’ the majestic imagery fails to tell a story or advance a message.
    • 65 Metascore
    • 50 Critic Score
    Kenny Chesney: Summer in 3D
    In occasional vignettes voiced over home movies and old photos, Chesney talks with humble conviction of reaching people in the cheap seats.
    • 51 Metascore
    • 63 Reviewed by
      Ty Burr
    Death at a Funeral
    The new version is completely unnecessary and sloppier than it should be. It’s also still funny, partly thanks to smart casting in a few key roles and partly because farce this ironclad cannot be denied.
    • 66 Metascore
    • 63 Reviewed by
      Ty Burr
    Kick-Ass
    Fusing teen comedy, bad-boy raunch, Tarantino-style gonzo mayhem, and tossing in a bloodthirsty little girl vigilante who swears like Steve Buscemi in a Coen brothers movie, the film has its moments of high-flying, low-down style. It’s also nowhere near as subversive as it thinks it is.
  26. The Joneses
    It’s cute and clever to a point -- especially if you don’t know much about the film’s premise going in -- but then the cleverness runs on like the one-note punch line of an interminable “Saturday Night Live’’ sketch, sponsored by Audi.
  27. The Cartel
    Actually, everything in Bowdon’s rant about America’s woeful public school system is important, including Bowdon.
    • 52 Metascore
    • 63 Reviewed by
      Ty Burr
    The City of Your Final Destination
    What was intended as a tart elegy for a vanished way of life becomes a valedictory to a certain kind of filmmaking: beautifully appointed, intelligently played, and civilized into inertia.
    • 85 Metascore
    • 100 Reviewed by
      Ty Burr
    Exit Through the Gift Shop
    One of the best, most karmically satisfying comedies of the year, much to the chagrin of the people who are in it.
    • 71 Metascore
    • 88 Reviewed by
      Ty Burr
    No One Knows About Persian Cats
    Whenever a band plays in “Persian Cats,’’ the director treats us to a fast, vibrant montage of Iranian faces and street scenes -- as if to say, look, this is who we REALLY are.
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