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. Raymond & Ray
    This one has a tang and texture and rare sense of everyday epiphany. Just when you think you’ve got it figured out, you find out you’ve figured wrong.
  2. Till
    Till avoids all flash. That makes it a bit didactic at times, but didacticism is a form of commitment: not so much political, though there’s certainly that, but also to emotional truth and simple human decency.
  3. Black Adam
    All kinds of stuff happens. Much of it is loud, confusing, and badly paced. From a superhero-movie perspective, it’s the last one of those three that’s most problematic. Leaden and flaccid are a bad combination.
  4. Ticket to Paradise
    Ticket is automatic-pilot smooth and formulaic familiar. It’s a romantic comedy, yes, and a star vehicle. But the category it most belongs to is airline movie — as in, a pleasure to watch in flight but less so on the ground.
  5. Decision to Leave
    Decision has real velocity without in any way feeling hectic or rushed.
  6. The School for Good and Evil
    School is endlessly talky, with dialogue that has the consistency of melted licorice (red or black, your choice). The one thing to be said for Theodore Shapiro’s muscularly egregious score is that the music makes it marginally easier to miss what the characters are saying.
  7. TÁR
    TÁR is ambitious, unusual, forceful, and ultimately frustrating, an emotional epic that’s also a nose-against-the-glass view of classical music and unconventional take on the #MeToo movement in that world.
  8. Stars at Noon
    Stars at Noon trades too much on a tradition of older, maybe not better but certainly more urgent movies. Somewhere deep, deep in its heart is the memory of Jane Greer and Robert Mitchum.
  9. Triangle of Sadness
    Precise, expert execution can’t compensate for forced situations and an unenforced imaginative rigor. It’s not so much that all the characters are so unsympathetic. It’s that they’re all so uninteresting. Caricature without gusto is shrink wrap covering . . . shrink wrap.
  10. Amsterdam
    It’s been seven years since the writer-director David O. Russell’s last movie. At its frequent best, “Amsterdam” makes it worth the wait.
  11. 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.
  12. The Greatest Beer Run Ever
    Perhaps the biggest problem with Beer Run is tonal haphazardness. Sometimes it’s meant to be funny — other times serious — other times even solemn. (Alternate title: “Chickie Learns About the Horrors of War.”) The few jokes that are clearly intentional tend to fall flat.
  13. The Good House
    Thanks to its two leads, The Good House very much succeeds as character study. As narrative, it doesn’t fare anywhere near as well.
  14. Blonde
    A lot of skill and imagination went into making Blonde. It’s just that they’re misplaced. The movie has its own cracked integrity. That long runtime allows Dominik to give it a slow, inexorable rhythm. Everything has a slightly underwater quality. Stardom here has more to do with miasma than glamour.
  15. Catherine Called Birdy
    Ramsey is close to a force of nature, equally skilled at conveying Birdy’s curiosity, humor, orneriness, and not-infrequent bewilderment. In other words, she’s a 14-year-old.
  16. Sidney
    Combining as it does great admiration with an acknowledgment of flaws, “Sidney” is like Ethan Hawke’s recent HBO Max documentary about Joanne Woodward and Paul Newman, “The Last Movie Stars.”
  17. Don't Worry Darling
    Darling never quite ignites. The closest it gets to ignition is Pugh’s performance. Styles is perfectly fine, but it’s her movie.
    • 76 Metascore
    • 75 Critic Score
    The Woman King
    The Woman King lets its excellent cast weave between hubris, shakiness, and strength, achieving not just richer representation but more thrilling fight scenes, too.
  19. The Silent Twins
    That’s the ultimate dividedness of “The Silent Twins.” What feels most fresh and true in it is, literally, imaginary, June and Jennifer’s flights of fancy. What feels most leaden and movie-phony is based on fact.
  20. See How They Run
    Whenever Ronan’s not on the screen, “See” seems to lose something. It’s no mystery why.
  21. Moonage Daydream
    Morgen’s immersive, sometimes convulsive, visual approach justifies the format. This is filmmaking that’s anything but chaste. Intentionally overwhelming, “Moonage Daydream” is indulgent and overproduced — which suits its subject.
  22. Confess, Fletch
    The journey is always more entertaining than the destination, and this one’s a lot of fun.
  23. The Story of Film: A New Generation
    Watching “Story,” one realizes that so much of what most of us most love about the movies isn’t the medium, per se, but its appurtenances: stardom and glamour and the pull of narrative. What Cousins loves is the medium. We love the effects. He loves the cause.
  24. Pinocchio
    The remake is poky and overstuffed. It’s also 17 minutes longer than the 1940 original. Granted, eight minutes of that is closing credits, but still. Pinocchio’s nose isn’t all that’s wooden and too long here.
  25. Loving Highsmith
    Eva Vitija’s documentary is lean and lucid and even at 84 minutes never feels hurried.
  26. Honk for Jesus. Save Your Soul.
    Formally, mockumentary is something of a cliché, as is intercutting of news coverage. That’s not great. It’s worse when the clichés aren’t just stylistic.
  27. McEnroe
    The documentary doesn’t give the sense of McEnroe as a person that Douglas’s film does. But it gives a rather astonishing sense of him as a player. With all due respect to those other McEnroe guises, that’s the one that matters.
  28. Me Time
    What the movie lacks in wit it makes up for with variety.
  29. Breaking
    When the movie stays focused on the three characters in the bank, it has a taut energy that glosses over some of the bumpier dialogue and easy grabs for emotion.
  30. Three Thousand Years of Longing
    Even if it ultimately doesn’t quite take off, it’s a marvel of craft and care and detail. It’s also not quite like anything else.
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