Boston Globe's Scores

Select another publication »
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
view
per page
  1. The Pearl Button
    As often happens in Guzmán’s films, The Pearl Button keeps returning to the Augusto Pinochet dictatorship of 1973-90, during which thousands of Chileans were “disappeared,” taken away and never seen again alive.
    • 88 Metascore
    • 88 Reviewed by
      Ty Burr
    Brooklyn
    Crowley and his creative team — cinematographer Yves Bélanger, designer François Séguin, composer Michael Brook, costume designer Odile Dicks-Mireaux — build a cinematic snow-globe of nostalgia, a portrait of two worlds that aches with family lost and freedoms found. It is a beautiful film to experience.
    • 45 Metascore
    • 50 Reviewed by
      Ty Burr
    By the Sea
    This prompts the perverse thought that By the Sea may simply exist as a movie for Angelina Jolie and Brad Pitt to watch. It’s two hours of vacation, voyeurism, and celebrity marriage therapy, and you and I aren’t actually invited.
  4. The Wonders
    The Wonders evokes many other films, but is utterly unique. It is like being privy to a marvelous story that Rohrwacher is telling herself.
  5. All Things Must Pass
    Lively and loving documentary.
    • 59 Metascore
    • 50 Reviewed by
      Ty Burr
    I Smile Back
    Sarah Silverman is far and away the best part of I Smile Back, a strained entry in the Mad Housewife genre.
  7. The Peanuts Movie
    Even with his glossy new look, Charlie Brown remains the Charlie Browniest.
  8. Welcome to Leith
    Like another documentary set in North Dakota, Jesse Moss’s “The Overnighters,” they follow the story for months as it unfolds, offering no editorial guidance except dates and places and a soundtrack by T. Griffith that underscores the growing angst and pending horror. Welcome to Leith. Say goodbye to certitude.
    • 93 Metascore
    • 100 Reviewed by
      Ty Burr
    Spotlight
    One of the reasons that Spotlight is so deeply, absurdly satisfying to this newspaper writer — is that Tom McCarthy’s movie doesn’t turn its journalists into heroes. It just lets them do their jobs, as tedious and critical as those are, with a realism that grips an audience almost in spite of itself.
    • 60 Metascore
    • 50 Reviewed by
      Ty Burr
    SPECTRE
    I know the opening credits for a James Bond movie are supposed to be silly, but the start of Spectre achieves almost orgasmic levels of kitsch.
  11. Truth
    Engrossing and occasionally moving, it doesn’t electrify like that other film about the press taking on a chief executive, Alan Pakula’s “All the President’s Men” (1976).
    • 91 Metascore
    • 88 Reviewed by
      Ty Burr
    Jafar Panahi's Taxi
    Those who’ve followed Panahi’s career over the decades will catch echoes of and references to his earlier movies, and at times Taxi is as much a tour of his filmography as it is of Tehran.
  13. Experimenter
    Despite this labyrinthine self-consciousness, the film, like its subject, keeps careful note of dates and places.
    • 82 Metascore
    • 75 Reviewed by
      Ty Burr
    The Assassin
    The Assassin achieves a pitch of the cinematic sublime of which very few filmmakers are capable, but it doesn’t make much traditional sense. Hou could do that, if he wants, but he’s after more rarefied game.
  15. Our Brand Is Crisis
    Green’s narrative confidence quickly kicks in, as well as the sharp dialogue by screenwriter Peter Straughan (“Tinker Tailor Soldier Spy”). More importantly, the film indulges in the unabashed goofiness that stoked Green’s “Pineapple Express,” and which Sandra Bullock demonstrated to raucous effect in “The Heat.”
  16. Burnt
    Cooper swaggers as convincingly as always, the food-prep montages are mesmerizing, and we even get a couple of solid twists and an education on the sous-vide trend.
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Suffragette
    The movie, which is both formulaic and powerful, dramatizes a paradigm shift that has been largely smoothed over by history (which is hardly the same as saying all the battles have been won).
  18. Jem and the Holograms
    To Chu’s credit, he does work hard not only to legitimize 30-somethings’ halcyon recollections, but also to make the material relevant to a new generation.
  19. Labyrinth of Lies
    Underneath its mea culpas lies a subtext that exonerates the post-Third Reich generations of its past.
  20. Extraordinary Tales
    Perhaps Poe’s tone poses a problem; the edge-of-hysteria voice does not hold up well over the course of a feature-length film.
  21. The Last Witch Hunter
    The script’s messy seams also show in the parade of sidekicks that passes through Kaulder’s door as a new threat develops.
  22. Stray Dog
    Immersive, enlightening documentary.
    • 29 Metascore
    • 12 Reviewed by
      Ty Burr
    Rock the Kasbah
    Rock the Kasbah is a pandering, poorly assembled botch that thinks it’s playing fair by Afghan popular culture but only manages to add insult to the countless other injuries inflicted upon that country. If it were any worse, they’d be screening it as evidence at The Hague.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Victoria
    It’s a showcase for an actress who wins us over by degrees and a reminder that there are no new stories — only fresh ways of telling them.
    • 86 Metascore
    • 100 Reviewed by
      Ty Burr
    Room
    Room unfolds with the privilege of seeing and experiencing the world for the very first time, which is maybe the best we can ever expect from a medium like the cinema.
  26. Goosebumps
    This feature adaptation of kid-lit author R.L. Stine’s best-selling horror-comedy series is out to thrill fans with a story that’s just as obsessively invested as they are, right down to Black’s meta casting as Stine himself.
    • 66 Metascore
    • 63 Reviewed by
      Ty Burr
    Crimson Peak
    This is a film that believes deeply in ghosts, and half of them are in its director’s head.
    • 79 Metascore
    • 88 Reviewed by
      Ty Burr
    Beasts of No Nation
    The idea that there may be life after war and murder, even for the murderers, and what that might look like — what burdens you might be allowed to put down and what you’ll carry forward forever. The movie’s too wise, and too weary, to have a moral beyond that.
    • 82 Metascore
    • 63 Reviewed by
      Ty Burr
    Steve Jobs
    We don’t go to Hollywood movies for hard facts, but it’d be nice to think we’re getting some kind of truth with our entertainment. Maybe Aaron Sorkin thinks we can’t handle the truth.
    • 81 Metascore
    • 75 Reviewed by
      Ty Burr
    Bridge of Spies
    Most bewildering of all, Bridge of Spies is a moral drama driven by an insurance lawyer. That it works at all is a miracle — or would be, if anyone other than St. Steven were involved.
Page:

Top Trailers

See all »
See all trailers »