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. The Man Who Knew Infinity
    The storytelling here might also be stronger if Brown’s dialogue were less conspicuous, and left it to Patel and top-billed Jeremy Irons to more subtly communicate their characters’ passion for numbers.
  2. Mother's Day
    It’s like a nightmare in which you are trapped in an endless Kmart aisle of horrible holiday cards.
  3. Dough
    The few winning, not-so-secret ingredients in Dough are the performances of Pryce and newcomer Holder, who brings zest and freshness to a stale role.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Colliding Dreams
    Directed from the center-left with an ear to parties on both sides of the West Bank separation barrier, it’s knowledgeable and unhysterical, openhearted without seeming naïve. Those on the extremes will probably hate it.
  5. Papa: Hemingway in Cuba
    Marilyn Monroe’s death in 1962 was ruled a suicide, as was Hemingway’s in 1961. Both spawned conspiracy theories. Maybe someone should make a movie about that. Or a decent one about Hemingway himself.
  6. Francofonia
    Sokurov’s elegy for Europe — and for art — is eloquent, sorrowful, and challenging.
    • 59 Metascore
    • 63 Reviewed by
      Ty Burr
    Elvis & Nixon
    Elvis & Nixon strains itself to bring the title duo together and then relaxes — finally — while Spacey and Shannon perform the actor’s equivalent of a waltz.
  8. The Huntsman: Winter's War
    Pretty uninspired material for a dream-teaming of actresses who currently rate among the edgiest of them all.
    • 79 Metascore
    • 88 Reviewed by
      Ty Burr
    Green Room
    Violence in Green Room is just bad. Unfortunately for its heroes and for us all, it’s also sometimes inevitable.
  10. A Hologram for the King
    It’s like an international-relations microcosm imagined by the Coen brothers, down to an occasional sense that the absurdity isn’t taking us anywhere.
  11. Sing Street
    The songs, written by Carney and Gary Clark, have a goofy but genuine appeal. Watch out, or you might end up downloading the soundtrack.
    • 52 Metascore
    • 63 Reviewed by
      Ty Burr
    We the People: The Market Basket Effect
    The filmmakers have made this for the purposes of near-term celebration rather than long-term understanding, and they’re probably judging their audience well.
  13. The Dark Horse
    Dark Horse falls into the formula of underprivileged kids challenging the elites at their own game. But the outcome is never certain.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Miles Ahead
    It’s all deeply felt and just as deeply unfocused, and that, more than the invented story line, betrays the movie’s subject.
  15. Criminal
    Kevin Costner should stop trying to be so nice. His best performances have been as baddies.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    The Jungle Book
    The chief attraction of the film is the ersatz India created by the pixel pushers at special effects houses WETA Digital and the Moving Picture Company.
  17. Barbershop: The Next Cut
    This time the not-so-idle talk is about taking a socially conscious stand against gang violence. And while some of this territory is covered too tritely and safely to have all the impact intended by director Malcolm D. Lee (“The Best Man Holiday”), the movie’s entreaties are compelling enough.
  18. The Invitation
    Kusama’s handling of point of view is diabolically shrewd. She maximizes the terror potential of the vapidly ostentatious modernist mansion without fetishizing it. She intensifies the monstrosity of some of the characters by making them all too human. And as for guessing the ending — good luck.
    • 49 Metascore
    • 63 Reviewed by
      Ty Burr
    Demolition
    What keeps you interested in Demolition is accompanying Davis as he solves the mystery of himself. What keeps you checking your watch is that the character’s not terribly interesting to begin with.
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    April and the Extraordinary World
    A delightfully deranged steampunk adventure.
  21. Born to be Blue
    For the next two decades, the end notes reveal, Baker made the best music of his career. The film does its job if it encourages people to give that music a listen.
  22. Hardcore Henry
    When the action is at its sharpest, such as with Henry’s mid-chase leap from a detonating truck onto the back of a motorcycle, it’s spectacular.
  23. The Boss
    The loosey-goosey fun might be a bit much at the finish, but it’s still a laugh watching McCarthy try to get back on her feet.
  24. I Saw the Light
    Tom Hiddleston puts in a performance as Williams that ranks with that of Joaquin Phoenix as Johnny Cash in “I Walk the Line.” And Hiddleston gets to do it in a better movie.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Midnight Special
    The truth is that this is a mystery movie, and the mystery is trying to figure out exactly what the heck is going on here.
  26. Take Me to the River
    Despite outstanding performances, the characters lose subtlety as they grow more extreme, and their secrets when spelled out become anticlimactic. Maybe with a little more mystery, the evil would seem less banal.
  27. The Clan
    It’s a mordant if unwieldy thriller examining how evil not only becomes the norm, but a virtue.
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    Everybody Wants Some!!
    A nice long soak in the Proustian detritus of its era.
    • 76 Metascore
    • 63 Reviewed by
      Ty Burr
    Marguerite
    Marguerite strives for ambiguity and settles for a muddle. It piles too much on its serving plate, and at 129 minutes it’s definitely overlong.
    • 72 Metascore
    • 75 Critic Score
    City of Gold
    It is a film about Los Angeles, culture and coexistence, the American dream. It is the opposite of narrowcasting.
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