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. Cars 3
    This is the rare movie that might benefit from silence. Partly that’s because of the squeezed syrup of Randy Newman’s score.
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    The Hero
    The Hero may not be a great movie but it’s a welcome tribute to a lanky, taciturn presence — a love letter to an actor that reminds us of why we ought to love him, too.
  3. Abacus: Small Enough to Jail
    Some of the best scenes show the family gathering after court sessions to discuss strategy, support each other, and vent.
  4. 47 Meters Down
    Not that the movie’s various shortcomings are all on Moore. British genre director and co-writer Johannes Roberts (“Storage 24”) gives her nothing but trite drama to work with in setting up the story, and an overload of distracting, reductive prattle once she hits the water.
    • 68 Metascore
    • 75 Reviewed by
      Ty Burr
    Beatriz at Dinner
    Beatriz at Dinner has been directed with subtle but damning chamber-comedy finesse by Miguel Arteta (“The Good Girl,” “Chuck & Buck”) and written by that great deadpan satirist Mike White (“Chuck & Buck,” “School of Rock,” TV’s “Freaks and Geeks”).
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    My Cousin Rachel
    My Cousin Rachel is a well-turned, well-acted literary adaptation that suffers from a built-in problem: The hero is a twit.
    • 67 Metascore
    • 50 Reviewed by
      Ty Burr
    Band Aid
    A clever and heartfelt comedy-drama that remains aloft as long as it retains its sense of humor; when the going gets serious, the dialogue turns therapeutic and heavy. Still, it’s a decent debut and an ambitious attempt to juggle tones.
  8. Megan Leavey
    Perhaps it’s just as well that other issues remain in the background and the film focuses instead on the bond between Leavey and Rex. Not only is it a compelling metaphor for a woman finding independence and empowerment, it dramatizes a primal emotional relationship that proves heartbreaking and triumphant.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    It Comes at Night
    The final scenes are both ambiguous and terrifying, and they left a preview audience as shaken as any I’ve seen. I had the distinct feeling, though, that a lot of them wouldn’t be recommending the movie to their friends. It gets very far under the skin.
    • 34 Metascore
    • 50 Reviewed by
      Ty Burr
    The Mummy
    Because the movie’s carrying a heavy load of corporate expectations, it gets pulled in different directions by competing agendas before eventually collapsing into incoherence.
  11. Dean
    Stay patient through those Seinfeldian stretches in which Martin isn’t so much acting as performing, and you’ll be treated to the bonus of some surprising emotional depth and poignancy.
    • 84 Metascore
    • 88 Reviewed by
      Ty Burr
    Graduation
    It’s the latest from Cristian Mungiu, one of the leading lights of the New Romanian Cinema and the director of “4 Months, 3 Weeks and 2 Days,” by general critical consensus one of the finest films of the new millennium. Graduation is a more quietly damning drama; it doesn’t eviscerate you like the earlier movie but instead sticks with you like a nagging doubt.
  13. Citizen Jane: Battle for the City
    A bit more internal tussle would have both better honored her spirit and made for a better documentary.
  14. Captain Underpants: The First Epic Movie
    In short, the film owns its immaturity. And the argument it appealingly offers in defense is that it’s healthy, even vital, to be able to laugh at scatological silliness, adults included.
    • 44 Metascore
    • 38 Reviewed by
      Ty Burr
    Churchill
    Unfortunately, Churchill the movie is simply dreadful, a stiff, melodramatic “Great Man” travesty that gets both the larger history and the details wrong while encouraging its star’s most overwrought excesses. What Cox serves in this movie is ham, poorly sliced.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Wonder Woman
    The first two hours run the gamut from interesting to delightful. The final 20 minutes are roaring, ridiculous business as usual. We should be thankful the tide of mediocrity is held back as long as it is.
    • 48 Metascore
    • 50 Reviewed by
      Ty Burr
    Paris Can Wait
    Paris Can Wait is Coppola’s feature solo writing-directing debut, filmed in her 80th year. It would be cheering to report that it’s a great movie, but you can’t have everything.
  18. Pirates of the Caribbean: Dead Men Tell No Tales
    Much as Bardem enlivens things, the real source of zip is Kaya Scodelario (“Maze Runner: The Scorch Trials”). Charming and spirited, she’s Daisy Ridley dialed up a notch.
  19. Baywatch
    The result is a scattershot comedy that only intermittently nails either tone, finally just bogging down in flatly choreographed mayhem in the late going.
  20. The Wedding Plan
    Consider it the PG-rated, Hassidic version of “Bridesmaids” (2011), and like that movie the comedy is rooted in pain, eroding hope, and triumphant faith.
    • 72 Metascore
    • 88 Reviewed by
      Ty Burr
    Obit
    Vanessa Gould’s charming and soulful documentary Obit should convince the doubters and cheer those who already know. As someone who takes great pleasure in both reading and writing valedictions to the recently deceased, I can personally attest that the movie’s dead on.
    • 52 Metascore
    • 75 Reviewed by
      Ty Burr
    Everything, Everything
    What separates the good teen romances based on young adult novels from the soppy, ridiculous ones? Emotional conviction, mostly, and committed performances. Everything, Everything is mostly one of the good ones, even if it has everything (everything) that makes these movies head south for everyone (everyone) but the target audience of teenage girls.
  23. Diary of a Wimpy Kid: The Long Haul
    For all her “Clueless” comedy cred, Silverstone just might be at her best conveying a mother’s special knack for witheringly guilting her boys.
    • 65 Metascore
    • 75 Reviewed by
      Ty Burr
    Alien: Covenant
    There are a number of reasons “Covenant” works where “Prometheus” struggled to work. The characters are more incisively drawn this time, and their relationships inherently more dramatic.
  25. Chuck
    The film’s casting in general is a strength, however deep the resonance of what the actors are playing. Schreiber’s ex-girlfriend, Naomi Watts, is a brassy, savvy presence as Wepner’s bartender soulmate.
  26. The Wall
    Watching Taylor-Johnson’s character engage the enemy this way is intriguing, but also a bit removed from the realism the film is after. Can you say catch-22?
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    The Lovers
    A lot of the humor, sage as it is, comes from the players, Winger and Letts in particular.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Risk
    Debuting at last year’s Cannes Film Festival and updated in light of recent events, it’s a failed film whose failure makes it interesting; it’s less a portrait of Assange than an account of how the scales fell from one admirer’s eyes as she looked at him.
  29. Snatched
    The movie also plays as an extended reminder of why we love Goldie. It’s enormous fun seeing Hawn up to her old tricks — at 71! — even if they’re tweaked to help sell someone else’s brand of comedy.
    • 41 Metascore
    • 25 Reviewed by
      Ty Burr
    King Arthur: Legend of the Sword
    King Arthur: Legend of the Sword is stupid enough to send you back to the one movie that did the saga right by ripping it to shreds, 1975’s “Monty Python and the Holy Grail.”
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