Boston Globe's Scores

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For 7,944 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: 5,226 out of 7944
  2. Mixed: 1,553 out of 7944
  3. Negative: 1,165 out of 7944
7944 movie reviews
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  1. 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.
  2. See How They Run
    Whenever Ronan’s not on the screen, “See” seems to lose something. It’s no mystery why.
  3. 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.
  4. Confess, Fletch
    The journey is always more entertaining than the destination, and this one’s a lot of fun.
  5. 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.
  6. 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.
  7. Loving Highsmith
    Eva Vitija’s documentary is lean and lucid and even at 84 minutes never feels hurried.
  8. 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.
  9. 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.
  10. Me Time
    What the movie lacks in wit it makes up for with variety.
  11. 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.
  12. 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.
  13. The Good Boss
    Once the comedy does kick in, around the 100-minute mark, it does so quite nastily. The movie never quite recovers.
  14. Beast
    To the movie’s credit, it tries to balance action and thrills with domestic conflict. Perhaps not surprisingly, the family stuff feels seriously subsidiary to the scary stuff. Beast is going through the motions with father-daughter tension. The humans-as-prey tension, that’s a different story.
  15. Day Shift
    Jamie Foxx is always interesting to watch. His latest movie isn’t. With “Day Shift,” reach for the garlic, not the remote.
  16. Secret Headquarters
    Secret Headquarters is uneven but consistently lively. There are moments of real wit (when was the last time you saw a movie use Pig Latin?), though not enough to compensate for the fairly tired, somewhat confused action sequences.
    • 49 Metascore
    • 50 Critic Score
    Mack & Rita
    The film misses an opportunity to portray the complexity of one’s 30s — and 70s. Still, Mack & Rita is a quirky movie that reminds the audience to live life to the fullest, whatever age they are.
  18. Emily the Criminal
    What Emily the Criminal really is is a character study; and this is where Plaza comes in. She’s the really good thing the movie has going for it. Over the course of 96 minutes, Emily will do some surprising things. Plaza makes them seem as natural as swiping a credit card, and in both senses of the verb.
    • 69 Metascore
    • 88 Critic Score
    Bodies Bodies Bodies
    Capturing today’s twenty-somethings is tricky enough even with a tight script (“You’re a spreadsheet with a superiority complex”), but making Zoomers realistic and ridiculous is all up to the delivery. And the cast of “Bodies” does not disappoint.
  20. Thirteen Lives
    The heart of the movie is the discussions among the divers and, even more, the scenes in the caves. Simply as a technical achievement, the underground and underwater filming is highly impressive.
  21. Luck
    Luck is a somewhat confounding blend of past, present, and future. The confoundedness comes of throwback elements and visionary never quite cohering — that, and an increasingly cluttered plot turning a sweet-natured film into a bit of a slog.
  22. I Love My Dad
    Emotionally, the movie is a mess. It can be even messier tonally. As storytelling, though, “Dad” moves right along. Viewers may look away at times, but they don’t look at their watches.
    • 53 Metascore
    • 50 Critic Score
    Sharp Stick
    Sarah Jo is a slippery protagonist, an oddball, and an enigma. But perhaps tucked within her pure, dovelike disposition is a message about the ways women’s desire can be flattened or overlooked.
  24. Bullet Train
    Pitt’s presence makes a borderline-odious piece of work watchable.
    • 70 Metascore
    • 63 Critic Score
    Resurrection
    Like many other contemporary psychological thrillers, “Resurrection” is far better at building up tension than it is in pulling together its narrative threads. It’s a little over-infatuated with its own perceived complexity, as if giving the audience any kind of conventionally plausible wrap-up is beneath its mission.
    • 56 Metascore
    • 75 Critic Score
    DC League of Super-Pets
    Kids will enjoy this film for the slapstick humor, but everyone will be rooting for Krypto to be lauded as a good boy.
  27. My Old School
    Cumming’s performance, or presentation, is at once casual and assured, which makes it all the more compelling.
    • 65 Metascore
    • 75 Critic Score
    Vengeance
    In “Vengeance,” Novak proves his chops both as an adept filmmaker and skillful satirist of contemporary mores.
  29. Fire of Love
    A remarkable subject, the Kraffts cry out for a remarkable filmmaker.
  30. Nope
    From start to finish, you don’t know what’s coming next in Nope. When was the last time you saw a movie where that was true? Nope is deeply strange, and Jordan Peele knows exactly what he’s doing with that strangeness. It’s designedly strange. It’s coherently strange.
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