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. 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.
  4. 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.
  5. Gleason
    Tweel has edited this material into a complex and emotionally exhausting vérité-like tapestry.
  6. 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.
  10. 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.
  12. 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.
  13. 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.
  17. Café Society
    Café Society is a romantic comedy where the romance is lackluster and the comedy an afterthought.
  18. Absolutely Fabulous: The Movie
    It’s comedy with a hint of honesty — but we’re fine with shallow and sparkly, dahling.
  19. Ice Age: Collision Course
    The riot of color here brings to mind what the makers of “Ice Age” delivered with “Rio,” which in turn reminds us that these animators certainly aren’t just one-trick talents. Could be time for them to show us some new ones.
    • 90 Metascore
    • 100 Reviewed by
      Ty Burr
    The Fits
    The Fits is what independent moviemaking should be and can be in this country. Like its heroine, it’s slight but it’s built to last.
    • 68 Metascore
    • 75 Reviewed by
      Ty Burr
    Star Trek Beyond
    Star Trek Beyond plays like an episode of the old “Star Trek” TV series. This, I submit, is what’s enjoyable about it.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    The Innocents
    Half melodrama, half Holy Minimalism, mostly engrossing, the film is guided by the idea of two women moving slowly toward each other in friendship and understanding, one an atheist doctor and the other a worldly bride of Christ.
    • 60 Metascore
    • 63 Reviewed by
      Ty Burr
    Ghostbusters
    The movie is genial, sloppy, slightly above average summer movie fun.
  24. The Infiltrator
    The movie’s best moments illustrate the lines that Mazur won’t cross, plus a few that he will.
  25. Zero Days
    There’s one NSA staffer in particular — seen in shadow, her voice altered — who’s the real star of Zero Days. Her reveal is at once solid journalism and dramatic tour de force. It’s a challenge Gibney meets with ease.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Mike and Dave Need Wedding Dates
    Mike and Dave Need Wedding Dates lopes along with bumptious likability but no real energy, urgency, structure, or wit.
  27. The Secret Life of Pets
    Its animal spin on unlikely-buddies interplay is amusing enough, but hardly as inspired as the teaser promised.
  28. Wiener-Dog
    As he gets older, Todd Solondz outgrows the cheap shocks and easy nihilism and stumbles toward a mellow misanthropy. He compares his new film Wiener-Dog to “Au Hasard Balthazar” (1966) and “Benji” (1974), though it tends more toward the latter than toward Robert Bresson’s masterpiece.
  29. Hunt for the Wilderpeople
    Polished? Not exactly. Poignant? Definitely.
  30. Our Kind of Traitor
    Whatever the turning point, his transformation from feckless academic to stalwart knight occurs too easily. It should be the heart of the story, but instead is just a troublesome detail in a hollow movie.
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