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. Hockney
    That we don’t hear more from Ruscha is one of the documentary’s flaws. Hockney, the subject, is like a great painting. Hockney, the documentary, is a pretty plain frame.
  2. The Lobster
    Another thing that might bug people is the acting. The roles are performed almost devoid of affect, something like the characters voiced by Tom Noonan in “Anomalisa.”
  3. The Angry Birds Movie
    What starts out as a lowbrow gag very typical of a pedestrian ’toon gradually balloons into absurdity that Mel Brooks would probably love. Here, at least, the Angry Birds fly.
  4. Neighbors 2: Sorority Rising
    One of the best things about the movie, aside from its screwily positive message, is the blithely freewheeling yet clever way that Rogen and company assemble the story’s puzzle pieces.
  5. No Home Movie
    The rest of the film consists mostly of Akerman talking with her mother, blithely and lovingly, about everyday ephemera and about the past (Natalia was a survivor of Auschwitz), both via Skype and at her mother’s genteel home in Brussels.
  6. I Don't Belong Anywhere: The Cinema of Chantal Akerman
    Akerman, though, is her own best spokesperson as she discusses her films at locations where they were shot.
    • 87 Metascore
    • 88 Reviewed by
      Ty Burr
    Love & Friendship
    The performances are uniformly excellent, but pride of place goes to Bennett’s Sir James, an upper class twit of Pythonesque proportions. Rarely has a character this moronic been this happy.
    • 70 Metascore
    • 63 Reviewed by
      Ty Burr
    The Nice Guys
    For a movie predicated on slapstick forward momentum, we spend an awful lot of time driving backward.
    • 79 Metascore
    • 88 Reviewed by
      Ty Burr
    Mountains May Depart
    The movie sprawls, almost entirely in a good sense, and it lets the audience draw its own conclusions. None of them is likely to be rosy.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    A Bigger Splash
    The performances are expert.
  11. High-Rise
    Because it stoops to obvious editorializing (a voice-over of Margaret Thatcher on capitalism?), it never quite rises to the top.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    Money Monster
    An acceptable time-waster for a slow day in a movie theater or a slow night on cable. But it never makes you mad as hell, so what’s the point?
  13. Too Late
    With Too Late, Hauck confirms that he’s a master of the film medium. What’s less convincing is why this film matters.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Men & Chicken
    As visually overstuffed as a hoarder’s apartment, the movie improves as it goes.
  15. The Meddler
    The Meddler is a disappointment after the talent Scafaria demonstrated in her 2012 feature debut “Seeking a Friend for the End of the World.”
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    Captain America: Civil War
    They’ve built up a vast ensemble of character types, all of them played by better-than-average actors, and that they can mix and match the drama, comedy, or action as they see fit.
  17. Fireworks Wednesday (2006)
    Another complex and magnificently acted melodrama.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Keanu
    If you’re in the right mood and seeing it with the right crowd, Keanu can put you close to a giggle coma, even as you realize the material’s far beneath the talents of its stars. They’re Key and Peele, but the movie treats them like Abbott and Costello.
  19. 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.
  20. Mother's Day
    It’s like a nightmare in which you are trapped in an endless Kmart aisle of horrible holiday cards.
  21. 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.
  23. 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.
  24. 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.
  26. 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.
  28. 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.
  29. 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.
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