Boston Globe's Scores

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For 7,945 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: 5,227 out of 7945
  2. Mixed: 1,553 out of 7945
  3. Negative: 1,165 out of 7945
7945 movie reviews
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  1. 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.
  2. 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.
  5. 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.
  7. 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.
  8. 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.
  11. 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.”
  13. Glory
    Like films such as Cristi Puiu’s “The Death of Mr. Lazarescu” (2005), Glory transforms that realism into metaphors that don’t just criticize a particular system but lay plain the universal exploitation of the weak and honest by the corrupt and powerful.
    • 72 Metascore
    • 63 Reviewed by
      Ty Burr
    My Entire High School Sinking Into the Sea
    According to the closing credits, My Entire High School was six years in the making and is clearly something that Shaw felt he had to get out of his system with his feature film-directing debut. Mission accomplished, and very stylishly, too.
  15. Chasing Trane: The John Coltrane Documentary
    The documentary variously consists of archival performance footage, home movies, photographs, pointlessly flashy graphics, and many, many talking heads.
  16. Jeremiah Tower: The Last Magnificent
    Over-stylized and overly re-enacted documentary.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    The Dinner
    An acrid family affair that has been aggressively over-directed by the talented Oren Moverman (“The Messenger”) and brought to intermittent life by a very good cast.
  18. Buster's Mal Heart
    Smith’s ambitious film at times resembles “Badlands” (1973) crossed with “Fight Club” (1999) as directed by the Coen brothers. Mostly, though, it founders in the complications of its own excess of themes, interconnected story-lines, and multiple personality disorders sketchily connected by an anti-establishment point of view.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    Guardians of the Galaxy Vol. 2
    The sharp comic timing and devil-may-care breeziness of the original only return intermittently, and the new film’s emphasis is on family feuds and forgiveness. It’s heavy on the feels. There are hugs.
    • 43 Metascore
    • 38 Reviewed by
      Ty Burr
    The Circle
    The dialogue is as subtle as a placard, the drama manages to be both cooked-up and dull, and the movie’s fear of brainwashed, tech-addicted millennials is so broad as to be unintentionally funny.
  21. Unforgettable
    It sounds like the movie itself: contrived, implausible, derivative, and — even though both the first-time director Denise Di Novi and screenwriter Christina Hodson are women — misogynistic.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    The title itself is a marquee-buster that bites off more than it can chew. So does the movie’s main character and so does the movie. But the chewing’s interesting and there’s food for thought here, not to mention a central performance that may stick to your ribs for quite some time.
  23. Their Finest
    At its best, which is often, Their Finest by Danish director Lone Scherfig (“Italian for Beginners;” “An Education”) manipulates appearance and reality, relief and recognition, with exquisite finesse. As befits a film about making films.
  24. Born in China
    Monkeys end up supplying the movie’s real drama. While parentally overlooked mischief-maker Tao Tao gets up to the requisite, well, monkey business, he’s also witness to a stunning snatch-and-fly attack by an opportunistic goshawk. It might not be nature on demand, but it’s some scene.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    The Lost City of Z
    The movie is 141 minutes long but you rarely feel its weight; that’s how confident a filmmaker Gray has become. All The Lost City of Z lacks is a great leading actor, someone magnificent and flawed like a Peter O’Toole.
  26. The Promise
    Too glossy to truly immerse audiences in the horrors it depicts.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    Free Fire
    Because Free Fire is a essentially a comedy of bad manners — a bedroom farce that only happens to take place in a warehouse, with volleys of gunfire rather than slammings of doors — it’s a highly enjoyable 90 minutes, especially if your tastes run to the violent, the absurd, and the violently absurd.
  28. Tommy's Honour
    A climactic contest takes place in arctic weather that would rival any New England Patriots playoff game. Had the filmmakers drawn more on this rowdy, hardy spirit, not to mention the hirsute gravitas of Peter Mullan, it might have done justice to its legendary subjects.
    • 70 Metascore
    • 88 Reviewed by
      Ty Burr
    Colossal
    About halfway into Colossal you may experience the novel vertigo that comes when you genuinely have no idea where a movie is taking you but understand you’re in competent creative hands. That sensation holds until you’re deposited, happy and a little worse for wear, at the end.
  30. The Fate of the Furious
    Polar chaos notwithstanding, “Fate” delivers action with more consistent visual precision than in the last couple of films, as newly enlisted director F. Gary Gray accesses the flair he brought to 2003’s “The Italian Job.”
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