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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    • 64 Metascore
    • 50 Reviewed by
      Ty Burr
    Nobody
    It’s a shame: Odenkirk begins the movie with a rep as a smart and slippery performer, but by the end of Nobody, he could be anybody.
    • 81 Metascore
    • 75 Reviewed by
      Ty Burr
    Tina
    Tina is celebratory and glossy, with no mention of her recent health issues, her son’s 2018 suicide, or other painful subjects. The life is still more than eventful enough.
  3. The Courier
    Assured and well made (Dominic Cooke directed), The Courier offers bits of tradecraft — Penkovsky photographing documents with a miniature camera, a special tie clip used as identity-establishing bona fide — and a high-stakes extraction plan gets put in motion. But it’s less about what gets done than the persons doing it.
    • 54 Metascore
    • 75 Reviewed by
      Ty Burr
    Zack Snyder's Justice League
    Is all the sound and fury worthwhile, the four years of championing, the four hours up on the screen? To the fans who’ve been in it for the long haul, of course. To HBO Max executives, you bet. To casual moviegoers, probably not.
    • 97 Metascore
    • 100 Reviewed by
      Ty Burr
    Quo Vadis, Aida?
    Quo Vadis, Aida? has the narrative beats and the intensity of a classic thriller: a cornered protagonist, an implacable villain, a breathless pace, hair’s-breadth escapes.
    • 88 Metascore
    • 100 Reviewed by
      Ty Burr
    The Father
    As Anthony, a blustery London widower whose grip on reality slowly comes unglued over the course of the film, Hopkins does it again. This is a magnificent and harrowing performance: A lion in winter slowly coming to ground.
    • 86 Metascore
    • 75 Reviewed by
      Ty Burr
    The Inheritance
    The Inheritance is a welcome reminder of film’s flexibility as a medium of protest, a vessel of cultural history, and an agent of change.
    • 44 Metascore
    • 38 Reviewed by
      Ty Burr
    Cherry
    Cherry is three movies in one, none of them fresh, all of them overlong.
    • 54 Metascore
    • 63 Reviewed by
      Ty Burr
    Moxie
    True to its title, Moxie has a lot of moxie, and it’s an easy watch, smartly acted by a crew of young talents.
    • 50 Metascore
    • 63 Reviewed by
      Ty Burr
    My Salinger Year
    My Salinger Year isn’t much, but it isn’t phony.
    • 52 Metascore
    • 75 Reviewed by
      Ty Burr
    Coming 2 America
    It’s silly of mind and open of heart, full of visual and sonic eye candy while telling a predictable story with pleasurable generosity. The laughs are pitched right over the plate with the skill and enjoyment of a team of vaudeville pros. As reunions go, it’s a success.
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Keep an Eye Out
    There’s not a lot of depth to Keep an Eye Out, but there is a singular vision at work and at play.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    Night of the Kings
    A tribute to the power of imagination and storytelling, and it’s like nothing you’ve seen before.
    • 66 Metascore
    • 50 Reviewed by
      Ty Burr
    I Care a Lot
    Marla Grayson is less a three-dimensional person (or even an interesting two-dimensional one) than a symptom of a sick society. And symptoms wear out their welcome pretty quickly. That shallowness renders Marla’s sexuality and stated feminism cynical rather than ironic, and it turns I Care a Lot into a lesser Coen brothers movie: No Country for Old Fogeys.
    • 52 Metascore
    • 63 Reviewed by
      Ty Burr
    The United States vs. Billie Holiday
    The director is Lee Daniels, of Precious (2009) and The Butler (2013), here evoking the historical era and its figures with verve and intelligence but unable to find a dramatic center other than his electrifying star.
    • 87 Metascore
    • 100 Reviewed by
      Ty Burr
    Nomadland
    Nomadland balances with spine-tingling grace between respect for that restlessness of spirit and longing for a society that has any notion of how to care for it.
    • 57 Metascore
    • 63 Critic Score
    Days of the Bagnold Summer
    Clever and bright, Days of the Bagnold Summer gains much from Daniel, Sue, and their realistic relationship — from their arguments to moments of bonding and everything in between — creating an endearing if weightless film.
    • 64 Metascore
    • 38 Critic Score
    Barb & Star Go to Vista Del Mar
    For all its sugary sweet coating, this movie is nothing more than mindless, mundane distraction.
    • 84 Metascore
    • 88 Reviewed by
      Ty Burr
    Judas and the Black Messiah
    A ferocious and first-rate drama.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Saint Maud
    A startling psychological horror story with a breakout performance by Welsh actress Morfydd Clark.
    • 53 Metascore
    • 75 Reviewed by
      Ty Burr
    The Mauritanian
    As directed by Kevin Macdonald (The Last King of Scotland), it’s a steady, compelling accounting of events that intends to leave you infuriated and succeeds.
    • 89 Metascore
    • 100 Reviewed by
      Ty Burr
    Minari
    Minari is as American as apple pie and kimchi, which is to say it’s what America is all about.
  23. A Glitch in the Matrix
    Rodney Ascher directed Glitch. He’s best known for Room 237 (2012), an inspired look at several bizarre theories about Stanley Kubrick’s The Shining (1980). Glitch ups the ante on that documentary and then some. It looks at a bizarre theory about everything. The result is lively, playful, and busy — in a very good way.
  24. Malcolm & Marie
    It’s not hard to see the script’s appeal for the actors, John David Washington and Zendaya. Playing the only characters in the movie, they get a very serious workout and give seriously good performances.
    • 73 Metascore
    • 75 Reviewed by
      Ty Burr
    Supernova
    McQueen has matters of life and death on his mind, and the final act of “Supernova” puts them on the table with a frankness that’s admirable without wholly succeeding as drama; the script’s schematic nature shows through the cracks even as the actors themselves can’t be faulted.
    • 54 Metascore
    • 63 Reviewed by
      Ty Burr
    The Little Things
    The movie’s a watchable affair for most of the running time, not so much subverting cliches of the serial-killer genre as keeping the audience in suspense as to how, if, and when those cliches will be observed.
    • 73 Metascore
    • 75 Reviewed by
      Ty Burr
    The Dig
    This is still a rich and worthy journey, comfort food that’s also food for thought. It invites us to consider timelines longer than a day, a year, a war, and a life, and to tread carefully on the kings and commoners who might lie beneath our feet.
    • 67 Metascore
    • 75 Reviewed by
      Ty Burr
    Spoor
    Animal lovers stand to flinch at the hunting scenes and other moments of violence, all of which appear to have been staged aside from documentary footage of creatures fleeing from gunshots. By contrast, the movie makes a dark but compelling case that the people on the other end of the barrel deserve whatever’s coming to them.
    • 85 Metascore
    • 75 Reviewed by
      Ty Burr
    Identifying Features
    The movie ultimately seems to suggest that the evils unleashed upon Mexico come from a place beyond humankind, which seems an easy way out after all Magdalena and Miguel have been put through. That said, this remains a terrifying cinematic vision that can’t be ignored, from a young filmmaker who won’t be.
    • 71 Metascore
    • 50 Reviewed by
      Ty Burr
    Preparations to be Together for an Unknown Period of Time
    Preparations to Be Together for an Unknown Time is a lovely visit to a Budapest that yields its secrets more willingly than the sad, repressed woman at the story’s center.
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