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. A Journal for Jordan
    Journal is Canedy’s story, but it’s Michael B. Jordan’s movie. Stalwart, quietly forceful, he seems positively . . . Denzelian.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  12. 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.
  14. 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.
  15. House of Gucci
    House of Gucci is pretty much can’t-miss. Except that it does.
  16. 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.
  18. 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.
  19. The Power of the Dog
    Campion’s best-known films (the remarkable The Piano, 1993; The Portrait of a Lady, 1996) are not just set in the past but summon it up with a rare capacity to make viewers feel a sort of displacement from the present. She does that here, too.
  20. King Richard
    King Richard is a movie, not a miniseries; and part of what makes Baylin’s screenplay so effective is his knowing what to leave out as well as what to put in.
  21. Passing
    This is a double debut for Hall, as director and screenwriter both. She’s long been known as one of our most gifted actors. So the quality of the performances she’s gotten from her cast is little surprise.
  22. Red Notice
    The first hour or so is lively, a bit crude, and more fun than it has any right to be. Expect double crosses, switcheroos, serious spoiler-level plot twists. Most are ridiculous, but that’s OK. The excitement starts to feel mechanical, even stale, during the second hour.
  23. Belfast
    Lyrical and episodic, Belfast is often affecting, if far too sentimental.
  24. The Souvenir: Part II
    Fortunately, both Souvenir films have two signal virtues: Hogg’s style and their star.
  25. Spencer
    About a third or so of Spencer doesn’t work: flashbacks to Diana’s childhood, hallucinations involving Anne Boleyn, a secret visit to her old house, a Boxing Day pheasant shoot that turns into a battle of wills between Diana and Charles (Jack Farthing). But Stewart’s performance makes those things immaterial and the rest of the movie seem all the finer.
  26. El Planeta
    It would be wrong to call El Planeta a comedy, or drama, or even that wretched if useful term dramedy. It’s a slice of life, the life belonging to Gijon.
  27. The Harder They Fall
    The movie is mostly grim, largely nasty, and gloatingly violent. (It is never a good idea to start a film with a child subjected to violence.) Really, what Harder is is glorified, post-Tarantino violence punctuated by exposition.
  28. Eternals
    The movie emphasizes personal relationships as other Marvel movies haven’t, and it has a vaguely religioso quality.
  29. Finch
    Finch pretty quickly settles into a buddy picture. It’s a dog picture, too, of course, Goodyear, a mutt, being so good at mugging for the camera. The whole thing is as sentimental as it is implausible, and it’s very implausible.
  30. Last Night in Soho
    Notwithstanding its irresistible rhinestone array of mid-’60s popular culture, Last Night in Soho is an exercise in nostalgia only in passing. What it is is a horror movie, released just in time for Halloween.
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