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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    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Youth
    Youth is, among many other things, a lovely valentine to both Caine and Keitel, two performers who have seen it all and know what to do with it.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Hitchcock/Truffaut
    It’s largely successful, if by nature all over the map.
    • 66 Metascore
    • 63 Reviewed by
      Ty Burr
    The Danish Girl
    The Danish Gir” wants to introduce us to a woman who helped forge a new way of thinking about what defines a person as a man or a woman. Mostly, though, it’s about the joy of sets.
    • 80 Metascore
    • 88 Reviewed by
      Ty Burr
    Theeb
    A mesmerizing coming of age adventure in an elemental setting, Theeb becomes both more allegorical and more specific to our historical moment the more you think about it.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Chi-Raq
    His carnival-esque filmmaking style, which can leave some Spike Lee joints in tatters, helps this one expand in sorrowful heart and indomitable wit. Chi-Raq is a vibrant community mural of a movie, and it stretches to the horizon.
  6. The Night Before
    The pre-Thanksgiving release of Jonathan Levine’s The Night Before celebrates those Christmas blessings that are beloved by all: scatological humor, smarmy sentimentality, and gross product placement.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    Legend
    Legend is more than a gimmick, but not quite enough. The movie’s a testament to the Krays’ ability to get away with everything — for a while, anyway. But it’s better evidence of Tom Hardy’s ability to do just about anything.
  8. The Good Dinosaur
    A very middling movie, it does have a nifty premise.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    Victor Frankenstein
    McAvoy’s performance is a deep, deep shade of gonzo and by far the most enjoyable aspect of Victor Frankenstein — you don’t often see over-acting this enthusiastic or this flecked with spittle.
  10. Creed
    After a long, long stretch in which the series’ attrition had come to feel like even more of a bummer than intended — no more Mickey, no Apollo, no Adrian — the franchise has welcome new life. But instead of going by Rocky, he goes by Creed.
  11. The Creeping Garden
    Whether unclassifiable and inconsequential oddity, or overlooked key to the meaning of life, or both, The Creeping Garden is the slime mold of documentaries.
  12. Peggy Guggenheim: Art Addict
    If the documentary isn’t especially deep, maybe that’s because its subject wasn’t.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Trumbo
    Cranston’s performance is the motor that runs Trumbo, and that motor never idles, never flags in momentum or magnetism or idealistic scorn. At its entertaining worst, the movie’s a high-spirited game of Hollywood dress-up.
  14. Secret in Their Eyes
    What’s ironic — and frustrating — is how precipitously the movie itself eventually goes tumbling down the intelligence scale. In the process, Chiwetel Ejiofor is wasted, along with some potent moments from costars Roberts and Nicole Kidman.
    • 65 Metascore
    • 75 Reviewed by
      Ty Burr
    The Hunger Games: Mockingjay - Part 2
    “If we die, let it be for a cause, not a spectacle,” the heroine barks at one point. If such a statement sounds fairly insane coming from a series that has grossed (to date) $2.3 billion worldwide, Mockingjay — Part 2 is sturdy enough to render it moot while you’re watching. After that, it’s up to you whether to swallow the irony or choke on it.
  16. My All American
    Angelo Pizzo knows inspirational sports drama. As the writer of “Hoosiers” and “Rudy,” Pizzo has made a career out of mining the genre and its themes of underdog determination and locker-room brotherhood. But he’s overmatched in his directing debut, the well-intentioned football biopic My All American.
  17. The 33
    Only in the epilogue does the film mention that none of the miners was compensated and no one was held responsible.
  18. Love the Coopers
    Enjoy the sense of never quite knowing when the movie is going to stick another pin in its balloon of sincerity, and you’ll like the Coopers well enough.
  19. 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.
  22. 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.
  23. 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.
  25. The Peanuts Movie
    Even with his glossy new look, Charlie Brown remains the Charlie Browniest.
  26. 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.
  29. 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.
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