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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    • 68 Metascore
    • 63 Reviewed by
      Ty Burr
    Casting About
    Voyeurism is central to the cinema and to acting, of course, and you'd better believe these women know it. Still, Casting About feels oddly disingenuous.
    • 66 Metascore
    • 50 Critic Score
    The Hip Hop Project
    And while the young director tends to skip over many of the larger societal issues plaguing many of the HHP participants, his desire to honestly platform the emotional heartbeat of his subjects still rings true.
    • 70 Metascore
    • 63 Reviewed by
      Ty Burr
    Chalk
    The results are about what you'd expect: friendly, unfocused, occasionally laugh-out-loud funny.
  4. The Ex
    The next time Grodin attempts a comeback, it would be so great if he avoids movies where he might be upstaged by a sandwich stunt.
    • 39 Metascore
    • 50 Reviewed by
      Ty Burr
    Provoked: A True Story
    There's an interesting movie in here, too, about the isolation of Indian brides brought to a new country by strange new husbands and mistreated, but Provoked rarely ducks below its glossy surface to go there.
    • 73 Metascore
    • 75 Reviewed by
      Ty Burr
    ShowBusiness: The Road to Broadway
    The film's slick and entertaining, an obvious must-see for musical hounds.
  7. Duck
    Writer-director Nic Bettauer can't decide whether to play Duck for tears or laughs.
  8. Day Night Day Night
    Astonishing.
  9. I Don't Want to Sleep Alone
    The movie is a block of paper that, when Tsai's finished with it, becomes a chain of snowflakes. Loneliness doesn't often get such a gorgeously ornate tribute.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Brand Upon the Brain!
    How often are psychosexual lunacy and classic cinema combined so fiendishly well?
    • 88 Metascore
    • 88 Reviewed by
      Ty Burr
    Away from Her
    With a tranquil fearlessness, it goes beyond the death of memory, to see what might be found in the unexplored country beyond. The answer is both frightening and comforting: More love. Unspecified love. Universal love.
  12. Spider-Man 3
    Raimi, who shares script credit with his brother Ivan and Alvin Sargent, strikes an exquisite balance between pop and woe, drama and whooshing adventure.
  13. Lucky You
    Playing the character with this much girlish innocence is risky. Barrymore can seem dumb, but as Lucky You unfolds, we realize that the character is just a device to bring viewers into the parallel universe of poker.
    • 48 Metascore
    • 38 Reviewed by
      Ty Burr
    Civic Duty
    Faced with a limited location and concept, Renfroe points his camera everywhere: The movie's seriously overshot, never settling for one angle when five would do.
  15. Paris, je t'aime
    As an ad for the city's charms, Paris couldn't have asked for a more sweetly jaundiced love letter.
  16. The Treatment
    The Treatment fails to do anything interesting with Jake.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    Waitress
    Waitress isn't a great film, but it is great, deep-dish fun, with a generosity of spirit that extends first to the sisters on the screen and in the audience, then to the rest of humanity.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    Jindabyne
    Where it works best is in the domestic dance of death between a husband and a wife. Linney flutters with increasingly panicky intelligence throughout the film, while Byrne sinks further into his own bulk.
  19. The Condemned
    Just watch Austin on "WrestleMania" instead, avoiding the shower this movie leaves you wanting.
    • 36 Metascore
    • 75 Reviewed by
      Ty Burr
    The Invisible
    A fully felt, decently crafted teen B-movie melodrama, plenty preposterous in places but alive to the vibrant miseries of being young and misunderstood.
  21. Kickin It Old Skool
    Probably as tolerable as it can be for a comedy with no obvious creative aim. You can imagine the crew cracking up on some outtake reel, which honestly is what this movie feels like.
  22. Next
    A watchably absurd popcorn flick about a man who can see two minutes into the future.
    • 54 Metascore
    • 63 Reviewed by
      Ty Burr
    Snow Cake
    Snow Cake is dazlious, too: overly forced, a shade too whimsical, but filling a void other words and other movies haven't the nerve or errant taste to confront.
    • 73 Metascore
    • 75 Reviewed by
      Ty Burr
    Election
    Mostly Election tracks the shifting of power among men for whom power is all that matters, no matter how much lip service they pay to loyalty. The final sequence is a shocker but it's also completely logical.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    The Wedding Weekend
    The dialogue is brightly self-conscious, and sometimes it clicks. Just as often it curdles into an entitled whining.
    • 66 Metascore
    • 63 Reviewed by
      Ty Burr
    Diggers
    The movie is strong and holding as long as it's shambling about in the Montauk dusk; when Dieckmann has to bring things to a resolution, Diggers turns ordinary -- sweet, but you've seen it many times before.
    • 49 Metascore
    • 50 Critic Score
    Ta Ra Rum Pum
    A tasty diversion from the usual Hollywood fare.
  28. Zoo
    Devor's sympathy for both the men and the animals is humane, yet his movie is palpably sad. A sense of shame cuts through all the ambiguity. You know less about what you've watched when Zoo is over than you did when it started. And that's what makes the movie so hard to shake.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Triad Election
    Set two years later, the sequel's the better film.
    • 81 Metascore
    • 75 Reviewed by
      Ty Burr
    Hot Fuzz
    It's to the "Lethal Weapon" movies what left-hand driving on a country lane is to a freeway chase: pokey, more than a little daft, but with a bloody surprise around every hedge.
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