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. 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.
  2. 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.
  3. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.”
  9. 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.
  10. 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.
  11. Eleanor the Great
    Eleanor the Great is one of the worst and most distasteful movies I’ve seen in a long while.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. The Long Walk
    The script, by JT Mollner, does an excellent job streamlining King’s book.
  18. 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.
  19. 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.
  20. Honey Don't!
    Honey Don’t!, the neo-noir by director Ethan Coen and his wife, co-writer Tricia Cooke, is an unsatisfying mishmash of plot threads that neither intrigue nor coalesce.
  21. Ne Zha 2
    This isn’t really for kids (I’d say it’s PG-13 level), and it’s so entrenched in its country’s myth-making that I wonder if sheer spectacle alone will be enough to entice American viewers.
  22. Devo
    This entertaining and informative documentary just might make you a fan as well.
  23. Nobody 2
    Once again, Odenkirk is lots of fun as filmdom’s most unexpected purveyor of brute force.
  24. Highest 2 Lowest
    This is one of the year’s best films. It’s also one of Lee’s finest joints.
  25. My Mother's Wedding
    My Mother’s Wedding neatly juxtaposes its subplots with the joyous event that serves as its centerpiece.
  26. Freakier Friday
    I liked the “Freaky Friday” remake. It had some real emotional heft to it, much of it due to the excellent performances by Curtis and Lohan. This time, all the characters are one-note, especially the teenagers.
  27. The Bad Guys 2
    Directors Pierre Perifel and JP Sans keep the action moving while allowing the performers and the animators to shine.
  28. The Naked Gun
    Nothing will replace the original in your hearts and minds. But you’ll still have a good time here.
  29. Oh, Hi!
    As it adds extraneous characters, “Oh, Hi!” becomes so frustrating and unbelievable that I wanted to yell advice at the screen.
  30. The Fantastic Four: First Steps
    Fantastic Four: First Steps alternates between battle sequences that you’ve seen countless times and interminable scenes of exposition disguised as emotional beats. The actors play this poorly written material as if they were doing Ibsen, which is commendable, but their attempts fail because you truly don’t give a damn about their plight.
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