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. Everything Everywhere All at Once
    This is movie as inundation. It’s daring, dashing, often delirious — except that the writer-director team of Dan Kwan and Daniel Scheinert (the Daniels, as they like to bill themselves) keeps the delirium under just enough control.
  2. Morbius
    Even at 104 minutes, practically a short by superhero-movie standards, Morbius feels draggy.
  3. Apollo 10½: A Space Age Childhood
    As in Linklater’s Dazed and Confused (1993), about the last day of school and first night of summer vacation in a Texas town in 1976, Apollo 10½ maintains a wondrous balance between Lone Star specific and anywhere-in-America general.
  4. The Lost City
    Sometimes it works — let’s say 12 percent of the time — and The Lost City can actually be deft and imaginative. Unfortunately, that leaves 88 percent which doesn’t.
  5. Infinite Storm
    Not to get all Aristotelian about it, but for a plot to be more than just a succession of incidents, it needs some kind of mindful opposition to the protagonist’s efforts. This “Infinite Storm” lacks.
  6. The Outfit
    The Outfit would be a splendid thing if limited to Rylance’s voiceover and long lingering shots of him working with fabrics.
  7. Master
    Open-endedness in a narrative can be a good and challenging thing; or it can be a sign of having gotten in too deep and not being able to figure out how to get out. “Get Out” knew how to get out. “Master” doesn’t.
  8. Deep Water
    For a stylish thriller to work, it needs to be at least a little bit stylish and offer an occasional thrill. Deep Water does neither.
  9. Turning Red
    From the texture of red panda fur to the detailing of a Toronto streetcar, “Turning Red” is a feast for the eyes. But the plotting, dialogue, and characters aren’t quite up to the studio’s standards.
  10. Compartment No. 6
    The movie has an unhurried rhythm, not slow, but unpressured. It’s a visual equivalent of the clacking of the railroad tracks.
  11. The Adam Project
    With so much going on, that means a lot of balls need to be kept in the air. Some of them drop. Of course they do: The Adam Project is entertaining but no masterpiece. What’s unusual, and impressive, is that the dropped balls often keep bouncing. That’s a tribute to the movie’s wit, energy, and imaginativeness.
  12. Lucy and Desi
    Overall “Lucy and Desi” is very much a valentine.
  13. After Yang
    The situation provides a framework for the writer-director, Kogonada (“Columbus,” 2017), to dwell on the workings of memory and the various meanings of mortality and family. This is rich and challenging material. “After Yang,” while pleasant enough and certainly distinctive, isn’t altogether up to the challenge.
  14. The Batman
    The Batman doesn’t plod, but it sure lacks a spring in its cinematic step.
    • 66 Metascore
    • 50 Critic Score
    Cyrano
    With its overly solemn, by-the-numbers approach, “Cyrano’' doesn’t make a strong enough case for another go at the story.
  16. Uncharted
    Uncharted is big on isn’t-badness. Quite competently done (Ruben Fleischer, Zombieland, is the director), it’s mostly diverting, but not especially inspired.
  17. Strawberry Mansion
    Strawberry Mansion is a very strange movie. It’s at times beguiling, at other times so wackadoo inscrutable you want to groan. Either way, it’s always inventive. It’s very much its own thing, and in this movie day and age that is no small accomplishment.
  18. The Worst Person in the World
    Visually, it’s the experience of falling in love turned inside out. “The Worst Person in the World” is showing how it looks to feel like the only couple in the world.
  19. Death on the Nile
    Okonedo and Bening fare best among the surprisingly lackluster cast.
  20. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. The 355
    The dialogue is as pedestrian as the plotting is far-fetched.
  28. 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.
  29. 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.
  30. The Tender Bar
    It’s amiable and unpretentious, if also slack and diffuse.
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