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. Beyond the Lights
    Unfortunately, as the story builds toward tenderness, it’s undercut with slathering tongues and bare-chested stud-muffin shots.
    • 36 Metascore
    • 63 Reviewed by
      Ty Burr
    Dumb and Dumber To
    Everyone has piled into this dumber, sillier, more consistently funny reprise with an enthusiasm that’s infectious, and not in a low-grade medical way.
  3. Diplomacy
    The dialogue also reflects the material’s stage origins in ways that don’t always translate well.
  4. Awake: The Life of Yogananda
    Those looking for further enlightenment might want to pass on the feel-good cinematic hagiography known as Awake: The Life of Yogananda.
  5. On Any Sunday: The Next Chapter
    The fundamental value put forth in Brown’s “Sunday” sequel is not fearlessness but “family.”
  6. Big Hero 6
    A rousing movie that’s satisfyingly infused with traditional Disney sentiment.
    • 63 Metascore
    • 63 Reviewed by
      Ty Burr
    Laggies
    There are enough indie clichés to blunt this movie’s edge.
  8. The Overnighters
    Through patience, skill, discretion, and trust, Jesse Moss has taken a seemingly small town story and turned it into both a microcosm of today’s most urgent issues and a portrait of a single suffering soul.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Interstellar
    The movie is “Gravity” cubed, an epic of space travel and human destiny that swings by Saturn, slingshots through a wormhole, and pinballs across a handful of planets on its way to a rendezvous with infinity, conveniently located inside a black hole.
  10. Fifi Howls from Happiness
    In person, as seen in Fifi Howls From Happiness, Mitra Farahani’s ambitious and self-reflexive documentary of the artist’s last days, Mohassess enthusiastically acts out those traits. It’s a performance enhanced by his diabolical, phlegm-choked laughter at his own bleakly ironic pronouncements and denunciations of the world in general.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    Listen Up Philip
    Jason Schwartzman is a fine actor, but he has a knack for creating characters you want to punch in the face, and Philip, who has a second novel coming out and is intent on burning all his bridges, is almost marvelously obnoxious.
  12. Horns
    Directed by splat-pack director Alexandre Aja (“Piranha 3D”) with uncharacteristic but still gruesome restraint, adapted from what seems a very busy novel by Joe Hill, Horns resembles an awkward collaboration between Nathaniel Hawthorne, Stephen King, and Rob Zombie.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    White Bird in a Blizzard
    Only Jane, as the cop who knows exactly what Mrs. Collins’s wayward daughter needs, has the sense of threat the movie is seeking. His and Woodley’s scenes together are dirty and alive.
    • 88 Metascore
    • 100 Reviewed by
      Ty Burr
    Citizenfour
    Citzenfour is prosaic in its presentation and profoundly chilling in its details, and if you think Snowden is a traitor, you should probably see it. If you think he’s a hero, you should probably see it. If you haven’t made up your mind — well, you get the idea.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Nightcrawler
    Nightcrawler is about TV news-video parasites, but the freakiest thing in it — the biggest bedbug of all — is Jake Gyllenhaal as the movie’s hero, Lou Bloom.
    • 89 Metascore
    • 100 Reviewed by
      Ty Burr
    Whiplash
    At Sundance, Whiplash quickly picked up the nickname “Full Metal Juilliard” on the basis of scenes in which Andrew, plucked from a late-night practice session to be the orchestra’s drummer, is raked over the coals by his new mentor. Horrifying as they are, these sequences are dazzling exercises in total humiliation.
  17. Bitter Honey
    The small Indonesian island of Bali still evokes images of a tropical paradise where Westerners can escape the discontents of the so-called developed world. Much of that romance lingers in Bitter Honey.
    • 87 Metascore
    • 100 Reviewed by
      Ty Burr
    Birdman or (The Unexpected Virtue of Ignorance)
    Birdman finds Iñárritu in the mood for play, and with a mighty cast that fields every pitch he throws.
  19. John Wick
    The movie’s one big pitfall, really, is that Reeves’s character is so intently focused, he takes care of business a bit too quickly. Some final skirmishing and a tonally false sign-off feel like unconvincing bids to stretch the story to a more legit feature length.
  20. Lilting
    Unlike other films that successfully explore abstractions, such as Wong Kar Wai’s “In the Mood for Love” or the memoiristic collages of Terence Davies, it doesn’t seem to have much going on beneath the drab surface.
  21. The Best of Me
    Isn’t fate a funny thing? Especially when Nicholas Sparks makes it up. Filmmakers love to adapt his stuff because he puts together narratives riddled with contrived coincidences and implausibilities meant to seem like the workings of providence when in fact they are the creations of a hackneyed mind.
  22. The Blue Room
    Though engrossing and aesthetically admirable, at times the humorless artiness verges on absurdity. It’s hard to take a film too seriously when plum jam and Bach’s “Chaconne” vie for equal cinematic significance.
  23. Addicted
    Things bottom out when Zoe not only hooks up with another lover (there is not an ounce of body fat in this movie), but also misses her son’s soccer game. And up until then we were all having a good time.
    • 64 Metascore
    • 50 Reviewed by
      Ty Burr
    St. Vincent
    So it is with St. Vincent, which might be Murray’s “Gran Torino” if you squint at it from one angle, or “Old Meatballs” if you come at it from another.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Fury
    Ayer, who has dealt with charismatic bad boys before — he wrote the script for “Training Day” and directed the sharp police drama “End of Watch” — makes the paternal “Wardaddy” into a figure both monstrous and upstanding.
  26. One Chance
    David Frankel’s film reduces an extraordinary life to a predictable template of bullying, resolve, success, disappointment, and platitudes — a pattern repeated two or three times until the genuinely moving finale.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Pride
    The film’s energy is contagious.
  28. Kill the Messenger
    It’s an engrossing portrait not only of government intrigue and crusading after the truth, but of media and their tangled motivations. Engrossing enough, in fact, that Cuesta needn’t try as hard as he occasionally does to heighten the drama and give it added flash.
  29. Art and Craft
    So Sam Cullman, Jennifer Grausman, and Mark Becker, the directors of Art and Craft, have themselves an enticing subject in Landis’s activities. They do not have an enticing subject in Landis himself.
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    The Zero Theorem
    Orwellian paranoia doesn’t die, it just gets fresh trimmings, and while The Zero Theorem is as messy and overstuffed as Fibber McGilliam’s closet, its sorrow and anger and demented humor strike just enough fresh sparks to keep this career alive.
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