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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    • 81 Metascore
    • 88 Reviewed by
      Ty Burr
    Elaine Stritch: Shoot Me
    She’s a diva — she knows it, we know it, the director knows it — but over the years Stritch seems to have learned that the only way to deal with that is honestly. So she’s a paradox: a diva with no illusions about herself.
  2. Child's Pose
    Of all the great monster mothers in cinema history, Cornelia Keneres (Luminita Gheorghiu, who sets the standard other performances should be judged by this year) ranks high on the list.
  3. Bethlehem
    A taut, expertly constructed, and suspenseful police procedural, it also explores the issues of loyalty, trust, betrayal, and revenge that those engaged in such morally ambiguous if essential activities would prefer not to think about.
  4. Mr. Peabody & Sherman
    In the film’s sharpest visual sequence, they land in ancient Egypt, with the filmmakers entertainingly cribbing from “Indiana Jones” and “The Wizard of Oz” to get them out of tight spots.
    • 48 Metascore
    • 50 Reviewed by
      Ty Burr
    300: Rise of an Empire
    Basically, if the first “300” was a pep-talk from Coach on how to lose with dignity, Rise of an Empire is an inspirational speech on the value of teamwork.
  6. Stalingrad
    It’s a brutal bit of screen poetry that’s matched too infrequently by the aching human stories director Fedor Bondarchuk is so anxious to tell.
  7. If You Build It
    If this blend of community service, innovative teaching, and creative approach to design and construction sounds idealistic, the film’s final scenes deliver enough stress and sweat to show that idealism takes hard work, too.
    • 81 Metascore
    • 100 Reviewed by
      Ty Burr
    Cousin Jules
    Cousin Jules is one of those rare experiences that’s rooted in the past yet feels very much of the moment. On top of that, it’s timeless.
  9. Son of God
    For the most part, though, the film maintains its low ambitions; it is mostly inoffensive, only occasionally ludicrous, and at times, at least for me, genuinely moving.
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    Non-Stop
    Writers John W. Richardson, Chris Roach, and Ryan Engle bet that the central hook — Who’s the bad guy? How’s he doing this? — will keep us paying attention. And they’re right.
  11. Fatal Assistance
    Fatal Assistance has few answers, and adds little clarity.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    Tim's Vermeer
    The deeper Tim’s Vermeer takes you, the peskier and more profound the questions get.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    The Wind Rises
    Should you see it? Of course you should. Anything Miyazaki does is worth your time. But the movie’s a gorgeous, problematic anomaly in an illustrious career.
  14. Stranger by the Lake
    What Stranger by the Lake lacks in suspense and back story it makes up for in atmosphere: It’s a subtle exercise in the pathetic fallacy.
  15. Easy Money: Hard to Kill
    Once again, the most resonant drama here is all about conveying a self-loathing born of inescapable circumstances.
  16. In Secret
    That’s the key to this movie — the way Thérèse looks at things; it’s a rare film that focuses on a woman actually looking and how she responds to what she sees.
  17. Pompeii
    Anderson’s stab at rendering the Mount Vesuvius catastrophe with a 3-D “Titanic” gloss.
    • 40 Metascore
    • 25 Reviewed by
      Ty Burr
    3 Days to Kill
    3 Days to Kill is pretty terrible, but it’s not really Kevin Costner’s fault.
    • 68 Metascore
    • 63 Reviewed by
      Ty Burr
    12 O'Clock Boys
    As a depiction of extralegal activity, 12 O’Clock Boys is eye-opening but sometimes needlessly ambiguous.
  20. Like Father, Like Son
    A bittersweet musing about the nature of parenthood and about the conflict between nature and nurture, it is as banal and insightful as its title.
    • 31 Metascore
    • 50 Reviewed by
      Ty Burr
    Winter's Tale
    Goldsman takes Helprin’s book — a work overflowing with events, ideas, characters, passions — and pounds away at it until all that’s left is mush.
  22. Endless Love
    Though Zefferelli’s version was trashy and downright nuts, at least it made you feel the love. This pallid replay just seems endless.
    • 62 Metascore
    • 38 Reviewed by
      Ty Burr
    About Last Night
    Despite a frisky soundtrack that starts off with James Brown’s “Sex Machine” — trust me, it’s downhill from there — this is the visual equivalent of Muzak. You don’t have to see it to have seen it.
    • 52 Metascore
    • 50 Reviewed by
      Ty Burr
    RoboCop
    The film doesn't embarrass itself or dishonor its predecessor, which is something.
  25. Vampire Academy
    Despite such attractions as Gabriel Byrne as a vampire with a skin disease and a décor that combines Hogwarts with “Suspiria,” the only lesson learned here is that Hollywood needs fresh blood.
    • 52 Metascore
    • 50 Reviewed by
      Ty Burr
    The Monuments Men
    It’s a great story, and much of it’s true. This should work like a pip. Instead, The Monuments Men is a tonal mishmash: Half “Hogan’s Post-Doctoral Heroes,” half “Saving Private Rembrandt,” and half “Ingres’s 11.” That’s three halves, so you can see the problem.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    The LEGO Movie
    The first great cinematic experience of 2014.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Gloria
    If the movie’s about anything, it’s about the tension between what we owe our families and what we owe ourselves.
    • 52 Metascore
    • 38 Reviewed by
      Ty Burr
    Labor Day
    The movie’s a somber affair, but if you see it in the right frame of mind, it’s the guilty-pleasure hoot of the season.
  30. That Awkward Moment
    As for the dialogue, although the characters talk really fast, swear a lot, and overlap their lines, what they’re saying isn’t very funny or authentic. It’s as if David Mamet collaborated on writing an episode of “Two and a Half Men.”
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