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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    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    A Tale of Love and Darkness
    She (Portman) has filmed the book according to its emotional meaning to her, and that’s fine. What she hasn’t done is whip it into shape as a compelling movie.
  2. Hands of Stone
    The highlight is Duran and Arcel’s bonding in the corner between rounds. We’ll take more of this revealing brand of drama anytime.
  3. Don't Breathe
    An original thriller about a home-invasion robbery gone wrong. To clarify, that would be “wrong” as in “not according to plan” – but also “wrong” as in “so dementedly repugnant, it just isn’t right.”
  4. Spaceman
    Overall the results are amiable, if also slack and talky.
  5. Viktoria
    Vitkova brings a distinct gender sensibility to her story, especially with her recurring imagery of milk and blood.
  6. Lo and Behold: Reveries of the Connected World
    It’s like a collection of short stories — most dystopian, some not — trying to pass itself off as a novel.
  7. Cosmos
    The result is nonstop, epistemological slapstick.
    • 84 Metascore
    • 88 Reviewed by
      Ty Burr
    Kubo and the Two Strings
    The movie is genuinely creative, genuinely outside-the-box, and often genuinely scary; parents of toddlers and nightmare-prone children are herewith warned.
  9. Ben-Hur
    That Morgan Freeman voice! It’s so rich and full and authoritative that even when he’s telling Judah, “OK, OK,” you almost believe people used that word in the year 33. If they were very progressive.
  10. War Dogs
    Hill’s braying-bro performance is indelible. Unfortunately. Go ahead, try to forget his more-more-more grin as he fires away, testing those Chinese bullets. He’s so grotesque you can’t take your eyes off of him. He’s also so grotesque you really want to.
  11. Anthropoid
    At its best the film evokes the palpable terror of a city where uniformed thugs could arrest or kill anyone at any time with impunity.
  12. Equity
    The role of investment banker Naomi Bishop seems right for Gunn, no question, and it’s one that she approaches with conviction. So why is it so hard to root for her, or for any of the characters here?
  13. Pete's Dragon
    Lowery’s update turns out to be one of the summer’s best surprises, a gorgeous, magical reworking that deftly strikes that once-elusive balance between contemporary and quaint.
    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    Florence Foster Jenkins
    [A] stagy, troubling, bizarrely entertaining movie.
    • 88 Metascore
    • 88 Reviewed by
      Ty Burr
    Hell or High Water
    The dialogue is terse and funny while hinting at much larger matters, such as the way poverty can be handed from generation to generation like a bad gene or a disease.
  16. Indignation
    Despite the material’s fit, the story’s relentlessly downbeat tone is challenging. Strong performances by Logan Lerman (“Fury”) and Sarah Gadon (Hulu’s “11.22.63”) can’t keep the film from feeling like exhaustingly slow going.
  17. Gleason
    Tweel has edited this material into a complex and emotionally exhausting vérité-like tapestry.
  18. Kaili Blues
    Bi’s singular vision bears comparison to those of other geniuses such as Tarkovsky, Sokurov, David Lynch, Luis Buñuel and Apichatpong Weerasethakul, Like those auteurs, he achieves what film is best at but seldom accomplishes — a stirring of a deeper consciousness, a glimpse into a reality transcending the everyday.
    • 83 Metascore
    • 75 Reviewed by
      Ty Burr
    Don't Think Twice
    Don’t Think Twice is comedy inside-baseball, and it’s pretty delicious.
    • 40 Metascore
    • 63 Reviewed by
      Ty Burr
    Suicide Squad
    Suicide Squad prides itself on being “dark,” but it’s really just jokey, cynical, and violent, not to mention visually ugly as sin. It’s as subversive as milk. But the cast and the pacing keep it moving.
    • 58 Metascore
    • 50 Reviewed by
      Ty Burr
    Nerve
    There’s a line between enjoyably stupid and stupid-stupid, and Nerve sails over it right around the halfway mark.
  22. Our Little Sister
    Unlike the Makioka sisters, this quartet lack ambiguity and mystery.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    Tallulah
    For most of its running time, the movie works as a sharp, generous human comedy about fear of family (among other things), with Page once again reminding us that she’s one of the most deft and underutilized actors of her generation. You’re already sold on Janney, I hope.
  24. Norman Lear: Just Another Version of You
    In short, the film inserts us into a solipsistic universe of Norman Lear, one that also overlaps many of the most significant social, political, and show-biz issues of the second half of the 20th century.
  25. Les Cowboys
    Alain might not have the very particular set of skills of Liam Neeson’s character in “Taken” (2008), but he does have the perseverance of John Wayne’s Ethan Edwards.
    • 58 Metascore
    • 63 Reviewed by
      Ty Burr
    Jason Bourne
    It exists for no other reason than that people like Matt Damon, they like him as this character, and the producers know audiences are willing to see more of him.
    • 60 Metascore
    • 38 Critic Score
    Bad Moms
    This is no “Bridesmaids.” What the film’s premise has in novelty, it lacks in execution. The characters are uninspired, and they continue to lack depth and plausibility throughout.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    Microbe and Gasoline
    Charming, melancholy, and, in the end, not terribly memorable.
  29. Café Society
    Café Society is a romantic comedy where the romance is lackluster and the comedy an afterthought.
  30. Absolutely Fabulous: The Movie
    It’s comedy with a hint of honesty — but we’re fine with shallow and sparkly, dahling.
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