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. Death on the Nile
    Okonedo and Bening fare best among the surprisingly lackluster cast.
  2. Moonfall
    There are moments watching it when you can’t help but think of “Don’t Look Up” (comet, moon, whatever). Honestly, though, “Moonfall” is more fun, even if far less substantial and nowhere near as much talent went into making it.
    • 77 Metascore
    • 50 Critic Score
    Jockey
    With inconsistency, [Collins Jr.] articulates the murkier and subtler aspects of a thinly written character through his physicality, revealing flashes of brilliance. But this feels undermined by directorial choices that don’t embrace or take full advantage of the potential primal nature of the performance.
  4. Flee
    If it weren’t such a good and distinctive film, “Flee” would still have a strong claim on the attention of moviegoers, since it’s that powerful a rendering of the refugee experience. But it is that good and definitely that distinctive.
  5. Munich: The Edge of War
    Tight close-ups, jittery hand-held camera — lots and lots of jittery hand-held camera. The idea, presumably, is to impart urgency, immediacy, dynamism. Instead it causes visual exhaustion.
  6. Drive My Car
    Over the course of just under three hours, Hamaguchi reworks and expands a Haruki Murakami short story (it first ran in The New Yorker) into an intimate epic.
  7. Parallel Mothers
    The heroine of a woman’s picture is almost always a victim, a practitioner of redemption through suffering. Janis is no victim, and Cruz’s performance makes that very plain. In revisiting the genre, Almodóvar, with Cruz’s help, is also subverting it.
  8. A Hero
    Farhadi’s artistry is what makes the details so important, both his selection of them and their handling. In much of “A Hero,” one simply has a sense of watching lives being lived.
  9. The 355
    The dialogue is as pedestrian as the plotting is far-fetched.
  10. Licorice Pizza
    The things in Licorice Pizza that are so good, like the performances from Haim and Hoffman and Cooper and the period fidelity, make you wish that the entire movie was just as good.
  11. Red Rocket
    It’s no surprise that [Rex] gives Mikey everything he’s got. What is a surprise is how much he’s got to give. The performance is riveting until, like the movie, it just becomes too much.
  12. The Tender Bar
    It’s amiable and unpretentious, if also slack and diffuse.
  13. A Journal for Jordan
    Journal is Canedy’s story, but it’s Michael B. Jordan’s movie. Stalwart, quietly forceful, he seems positively . . . Denzelian.
  14. The Matrix Resurrections
    Anyone much over the age of 15 who saw the earlier movies knew they were silly. That didn’t matter. What mattered is that they didn’t feel silly. “Resurrections” does.
  15. The Tragedy of Macbeth
    There’s an intimacy to this Macbeth that’s transfixing. Largely filling the frame with the actors doesn’t do just them a great service. It also does Shakespeare’s language a great service, making it that much easier for the viewer to attend to it.
  16. The King's Man
    History is just one big playpen for The King’s Man, but some games are less fun than others. Maybe using a glimpse of Hitler for a cheap thrill wouldn’t seem quite so grotesque in a movie that were more entertaining, but The King’s Man isn’t so it does.
  17. The Hand of God
    These characters are so vibrant and the episodes so richly imagined that it’s easy to overlook how shapeless The Hand of God is. The film has the vividness of memory, but also the structure of memory, which is to say no real structure at all. Visually, though, the movie is of a piece; it’s Sorrentino’s eye that holds it together.
  18. The Lost Daughter
    [Gyllenhaal’s] direction is unemphatic without ever being tentative, and she’s made a film with a relaxed, easy rhythm — but not too easy.
  19. Nightmare Alley
    Nightmare Alley doesn’t lack for action. It’s just that the action feels mechanical, a going through the motions. It’s a sincere going through the motions. It’s a committed going through the motions. But it’s still a going through the motions. Worse than a dream that’s a nightmare is a dream that’s a form of sleepwalking.
  20. Spider-Man: No Way Home
    No Way Home is overlong and its various temporal loop-the-loops start to wear out their welcome...All that said, there’s an imaginativeness to No Way Home, along with a ton of energy, that makes the viewer cut it a lot of slack.
  21. Being the Ricardos
    Like the title characters and the performances that go with them, Being the Ricardos has real zip. It’s a virtue of Sorkin’s tendency to glibness. His writing can be irritatingly slick, but never boring.
  22. Don't Look Up
    Flat-footed and far too broad, it’s a reminder why “Saturday Night Live” skits don’t run two hours and 18 minutes.
    • 85 Metascore
    • 88 Critic Score
    West Side Story
    There have been countless iterations of this masterwork (it was revived again on Broadway as recently as last year), but Spielberg and Kushner enable us to see it with new eyes.
  24. C'mon C'mon
    Anyone who’s been a parent will find C’mon C’mon memorable, even transporting. Anyone who’s ever thought about being a parent might find it even more so.
    • 78 Metascore
    • 88 Critic Score
    The Humans
    Karam uses lingering closeups, off-kilter camera angles, and half-heard conversations from other rooms to heighten the film’s aura of free-floating dread.
  26. Encanto
    Surely it’s no coincidence that Encanto is set in the homeland of the literary master of magical realism, Gabriel García Márquez. That’s what Encanto is, magical realism brought to the screen by way of the Magic Kingdom.
  27. House of Gucci
    House of Gucci is pretty much can’t-miss. Except that it does.
  28. Julia
    Julia, a brisk documentary survey of Julia Child’s life, is warmly admiring. This makes sense, as there’s lots to admire.
    • 74 Metascore
    • 75 Critic Score
    tick, tick...Boom!
    When coupled with the itchy urgency of Garfield’s outstanding performance as Jon, the brio with which Miranda infuses tick, tick … BOOM! helps to camouflage the fundamentally clichéd nature of the dilemma faced by the protagonist.
  30. Ghostbusters: Afterlife
    It has its moments, most of them owing to a quite-phenomenal Mckenna Grace,as a 12-year-old techno wiz, and Paul Rudd, as an easygoing science teacher, but they don’t make up for a general flat-footedness and tendency to wobble.
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