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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    • 66 Metascore
    • 63 Reviewed by
      Ty Burr
    The Bling Ring
    The studied impassivity of The Bling Ring feels increasingly like a dodge as the movie progresses; we sense an anger and a moralism that the director’s too cool or too wary or too close to engage.
    • 78 Metascore
    • 88 Reviewed by
      Ty Burr
    Much Ado About Nothing
    Joss Whedon’s Much Ado About Nothing is just about the sloppiest Shakespeare ever put on the screen. It may also be the most exhilarating — a profound trifle that reminds you how close Shakespeare’s comedies verge on darkness before pirouetting back into the light.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    Monsters University
    This is not a bad movie, and to small children it will be a very good one. But it is closer to average than one would wish from the company that gave us “Up,” “Wall-E,” “The Incredibles,” and “Toy Story 3."
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    World War Z
    World War Z is epically realized entertainment that feeds on our fears of apocalypse, but it’s just fast enough and smart enough — and, more importantly, human enough — to keep an audience on edge from start to finish.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    Man of Steel
    Snyder knows how to put on a show, and Man of Steel has a massive scope that’s hard to resist... But what’s missing from this Superman saga is a sense of lightness, of pop joy.
    • 67 Metascore
    • 75 Reviewed by
      Ty Burr
    This Is the End
    [A] crass, patchy, often shamelessly funny farce.
  7. The Purge
    The problem with high concepts like this is cooking up a story and characters to go along with it.
    • 61 Metascore
    • 75 Reviewed by
      Ty Burr
    The Kings of Summer
    A stylish and very funny teenage coming-of-age story graced with surreal fringes and a mysteriously hushed core.
    • 94 Metascore
    • 100 Reviewed by
      Ty Burr
    Before Midnight
    If the first two films belong with the greatest (if talkiest) movie romances of all time, the new film is richer, riskier, and more bleakly perceptive about what it takes for love to endure (or not) over the long haul.
    • 42 Metascore
    • 50 Reviewed by
      Ty Burr
    The Internship
    It’s the kind of Hollywood formula product that proves why the formula’s so hard to kill: simultaneously easy to like and impossible to respect.
  11. Now You See Me
    The editing of the action sequences is an insult to the idea of narrative clarity.
  12. Leviathan
    It is part Rorschach test and part theme park ride as the filmmakers shoot from the strangest places and from such odd perspectives that much of the film consists of trying to figure out what the heck is going on.
    • 74 Metascore
    • 75 Critic Score
    Becoming Traviata
    Becoming Traviata might make you feel you’ve seen Verdi’s opera, or it might make you want to see it.
    • 70 Metascore
    • 88 Reviewed by
      Ty Burr
    The Painting (Le Tableau)
    Creative, colorful, and unexpectedly wise, The Painting is the latest offshore animation to show to kids burned out on computer-generated Hollywood toons.
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    At Any Price
    Bahrani is brilliant at small gestures and the way they can speak volumes, but in At Any Price he’s aiming for grand tragedy, and he doesn’t yet have the knack. The pacing of the final act is uncertain; the epic sweep doesn’t arrive.
    • 74 Metascore
    • 88 Reviewed by
      Ty Burr
    What Maisie Knew
    What Maisie Knew flirts with sentimentality but mostly keeps it at bay until the very end, at which point the filmmakers and we realize the kid has probably earned it.
  17. Fast & Furious 6
    At more leisurely, less furious moments, meanwhile, the cast shows the easy chemistry that comes with having now done a couple of these all-hands-on-deck episodes.
    • 30 Metascore
    • 38 Reviewed by
      Ty Burr
    The Hangover Part III
    This third go-round for the "Wolf Pack" doesn't bother to Xerox the original 2009 hit comedy, as 2011's witless "Hangover 2" did. Instead, the new movie heads in different, if utterly formulaic, directions. So it's not terrible. It's just bad.
  19. Black Rock
    It’s all a fair attempt, but Aselton isn’t going to make anyone forget Kathryn Bigelow.
    • 91 Metascore
    • 88 Reviewed by
      Ty Burr
    Stories We Tell
    Stories We Tell is one of those movies you watch on a screen and replay in your head for days, moving between its many levels of inquiry and touched, always, by Polley’s compassion toward her relatives in particular and people in general.
    • 69 Metascore
    • 75 Reviewed by
      Ty Burr
    Sightseers
    Darkly funny though it is, Sightseers has undercurrents of genuine and very British weirdness...Way down beneath the whimsy is a class rage as heartfelt as it is warped.
    • 60 Metascore
    • 50 Reviewed by
      Ty Burr
    The Iceman
    Director/co-writer Ariel Vromen has made a grimly passable crime drama in the sub-“GoodFellas”/“Sopranos” vein, and if you’re looking for something to order up on a slow Saturday night, it’ll do.
    • 72 Metascore
    • 88 Reviewed by
      Ty Burr
    Star Trek Into Darkness
    All Abrams wants to do is give us a great ride while holding firm to our longstanding emotional investment in these characters.
  24. In the House
    After all the mesmerizingly illicit buildup, the film’s willful lack of a payoff is almost as strange as one of those essays.
  25. No Place on Earth
    Fascinating but frustrating.
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Renoir
    Renoir may be too decorous, but it’s about decoration — the intense beauty of surfaces.
  27. Aftershock
    Though offering some chilling twists on the usual conventions, employing wit and restraint where otherwise the filmmakers might have relied on the contents of an abattoir, Aftershock is ultimately predictable in its litany of who lives and who dies, and doesn’t try to be too ironic or self-reflexive about it.
  28. The Source Family
    More than just a footnote to a wayward period of cultural history, The Source Family portrays an American type, the transcendent charlatan, a latter-day Gatsby, not of material riches but of the soul.
    • 54 Metascore
    • 63 Reviewed by
      Ty Burr
    The Reluctant Fundamentalist
    It’s a simple story, really, but Nair mucks it up with the hot-button suspense of the framing scenes: surging crowds and rooftop standoffs, panicky cellphone calls and crackling walkie-talkies.
  30. Peeples
    Despite the derivativeness, Chism shows talent and shrewd instincts in the timing and direction of the comedy — she handles the requisite dinner table disaster scene with aplomb.
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