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. Train Dreams
    This is a gorgeous movie to look at, to listen to, and to experience on an emotional level.
  2. Christy
    The writing is coy when it should be direct, and the characterizations of the main antagonists are so broad that it reduces Martin to victim-like status.
  3. It Was Just an Accident
    I found it too repetitious at times, and Hamid’s constant raving, though understandable, wore thin. Despite those flaws, this is still a good film — and an important one worth seeing.
  4. Nouvelle Vague
    Nouvelle Vague succeeds in giving you a feel for the films it’s documenting and paying homage to, without the pretentiousness and snobbery those films are accused of conveying. It’s a welcoming gateway drug for newcomers curious about its subject.
  5. The Mastermind
    If only this movie weren’t as slow as a sleepwalkng turtle. The story is constructed like one big, dark joke whose punchline isn’t worth sitting through 110 minutes to hear.
  6. Frankenstein
    By giving his actors a three-dimensional world, del Toro sparks their imaginations — and ours. The result is a beautiful, bittersweet, and occasionally horrific look at what it means to be human.
  7. Springsteen: Deliver Me from Nowhere
    Springsteen: Deliver Me From Nowhere has enough good material to make you wish it were better. Unfortunately, it owes debts to the biopic genre that no honest film can pay.
  8. Blue Moon
    This is a film about a professional divorce, not a romantic one. The fallout is just as painful.
  9. Bugonia
    Working from a script by Will Tracy, Lanthimos creates a realistic ridiculousness, and trusts his leads to walk the tightrope with him.
  10. If I Had Legs I'd Kick You
    It’s a daring choice to force audiences to spend 2 hours with someone they won’t like, but “If I Had Legs, I’d Kick You” is more of an experiment than an empathy machine. It overstays its welcome by at least 30 minutes.
  11. Good Fortune
    Good Fortune showcases the virtues of the goofball side of Keanu Reeves. With all that great John Wick action, it’s easy to forget just how charming and lovable Reeves can be when playing an average joe or a misfit.
  12. Urchin
    Dillane is onscreen for the entire film, and he gives a performance that will stick with you long after the symbolism-laced last scene.
  13. After the Hunt
    Nora Garrett’s screenplay isn’t concerned with fleshed out characters; everyone here is a stand-in for some issue designed to get a rise out of the audience.
  14. Kiss of the Spider Woman
    Watching J.Lo make movie magic for the captive audience on both sides of the screen reminded me why I watch movies, and how revisiting my favorite films has kept me sane and happy in this bitter little world.
    • 75 Metascore
    • 50 Critic Score
    A House of Dynamite
    Despite its intent to scare viewers into thinking about the possibility of a nuclear attack on a major American city, the screenplay structure of “A House of Dynamite” robs most of its power. The same events are seen from three different perspectives, a narrative device that becomes an instantly forgettable gimmick.
  16. TRON: Ares
    To say that Oscar winners Trent Reznor and Atticus Ross go hard on the music would be an understatement. There were times when their beats vibrated through my theater chair, goosing me into thinking “Tron: Ares” is better than it is. Their contribution propels the action and makes you believe in the visual bedlam unfolding before you.
  17. Roofman
    If only this movie were as interesting as the truth. Tatum’s sparkling charm can only take him so far; the script, by Cianfrance and Kirt Gunn, spends way too much time on a romantic subplot filled with sitcom scenarios and uninteresting characters.
  18. The Lost Bus
    McConaughey and Ferrera have chemistry and serve their roles well. The endangered children all start to blur together, though Nathan Gariety stands out as Toby, a scared 7-year-old who bonds with McKay. But you’re not watching “The Lost Bus” for deep characterizations. You’re watching it for the action. On that basis, Greengrass and company deliver the goods.
  19. The Smashing Machine
    Living up to her surname, Blunt doesn’t just chew and swallow the scenery, she regurgitates it and chews it again. Along with the bad writing given to her character, she singlehandedly torpedoes “The Smashing Machine.”
  20. Anemone
    Pain plus impatience does not make for a favorable review, even if the film marks the return of one of our greatest living actors.
  21. One Battle After Another
    Contrary to Gil Scott-Heron’s song, the revolution of “One Battle After Another” feels more televised than live. After 161 minutes of it, I was tempted to turn the channel.
  22. Eleanor the Great
    Eleanor the Great is one of the worst and most distasteful movies I’ve seen in a long while.
  23. The History of Sound
    The History of Sound is even more repressed than its characters, and at over two hours, that’s far from entertaining.
  24. Him
    I’m not implying that a horror movie needs to be coherent to deliver the chills — watch any J-Horror movie for proof that this concept can work. But “HIM” doesn’t even try to be scary. It’s too busy bombarding us with nonsensical, quickly flashed images that divulge nothing.
  25. A Big Bold Beautiful Journey
    A Big Bold Beautiful Journey — which sounds like a Boy Scout jamboree presided over by Donald Trump — is a very traditional movie masquerading as a very odd movie. What helps make it a good movie is how well it (mostly) maintains a balance between tradition and oddity.
  26. Spinal Tap II: The End Continues
    This time, director Rob Reiner and his cast take aim at comeback concerts and the documentaries they often spawn. In other words, “Spinal Tap II” is both a satire and an example of what it’s satirizing.
  27. Downton Abbey: The Grand Finale
    The stakes in the film are high enough for some plot, but low enough to maintain healthy blood pressure. There is a delicious lack of exposition — and plenty of inside jokes for the true fans.
  28. The Long Walk
    The script, by JT Mollner, does an excellent job streamlining King’s book.
  29. Love, Brooklyn
    The romantic love triangle dramedy “Love, Brooklyn” is more than just a visual showcase for the favorite borough of the average New York City hipster. It’s also an unabashed devotional to the interior design of the Brooklyn brownstone.
  30. The Roses
    Unfortunately, “The Roses” is a toothless take on the material. The stakes are never as high as they were in the 1989 movie, and the film takes too much time trying to humanize these people. By the time they’re actively trying to sabotage and murder one another, the movie has completely lost its nerve. The end result feels rushed and weak-willed.
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