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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    • 68 Metascore
    • 63 Reviewed by
      Ty Burr
    The Place Beyond the Pines
    It’s very much a film about men, their yearnings and discontents, and about the way sins tumble down from one generation to the next. It’s a bank-robber movie, too, as well as a drama about the pressures teenagers face from parents and peers. You can feel Cianfrance biting off more and more until his mouth is too full to chew.
    • 76 Metascore
    • 100 Reviewed by
      Ty Burr
    Reality
    The movie’s a funny, dark, increasingly razor-sharp inquiry into the metaphysics of modern fame — how the dream of “being seen” and thus validated on some primal level can completely unhinge the average schmo.
    • 84 Metascore
    • 88 Reviewed by
      Ty Burr
    War Witch
    War Witch deals with a reality so horrific that the film’s touches of magical realism are welcome, even necessary — the only way to retain one’s bearings and sanity in a world without signposts.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    The Sapphires
    The movie has the indulgent fondness of a gift from a son to his talented mum and aunties. But it also feels the funk, and that’s what counts.
  5. Starbuck
    Bertrand does his jelly-belly best to keep Starbuck a comedy. But even the broadest shtick can’t prevent a movie that features a Busby Berkeley-style group hug from becoming a male weepie. Or a testimonial to Planned Parenthood.
  6. G.I. Joe: Retaliation
    How funny that Pryce, a tweedy Brit playing a bad guy, should be the one person doing anything remotely heroic for this dud.
    • 35 Metascore
    • 63 Reviewed by
      Ty Burr
    The Host
    The Host will make perfect sense to 12-year-old girls, while their college-age sisters will probably laugh themselves sick and their mothers will look at Hurt and wonder when he got so old.
  8. The Silence
    The Silence is a victim of over-plotting, clunky narrative, gratuitous stylization, and too many points of view. When any character quirk or story turn shows promise, depend on some ill-considered directorial decision to put a stop to it.
  9. Olympus Has Fallen
    Butler serves the cause well, considering. Think that cause is a thankless one? Shhh, don’t tell Secret Service agent Channing Tatum or president Jamie Foxx, headed your way in June with, yes, “White House Down.”
  10. The Croods
    Some of the exotic landscape the group trailblazes looks imported from “Avatar” — happily, bringing that immersively dimensionalized, eye-catching quality along with it.
    • 48 Metascore
    • 63 Reviewed by
      Ty Burr
    Admission
    Cheerful, skittish entertainment that never takes its subject seriously enough.
    • 56 Metascore
    • 75 Reviewed by
      Ty Burr
    On the Road
    A straightforward and rather sane version of the events described in the book and, against all odds, a surprisingly effective movie.
    • 69 Metascore
    • 75 Reviewed by
      Ty Burr
    Ginger & Rosa
    In Fanning, Potter has found the perfect vessel, and the miracle is that the actress doesn’t even seem to be trying. She just is.
    • 63 Metascore
    • 88 Reviewed by
      Ty Burr
    Spring Breakers
    Korine wants to give us a portrait of our nation’s children — the girls, especially — as beautifully depraved sharks, pleasure-seeking killers oblivious to the comedy and horror of their existence. And damned if he doesn’t pull it off, or come close enough.
  15. Stars in Shorts
    The performances in tandem with the writing take most of these seven movies to interesting places.
    • 28 Metascore
    • 38 Reviewed by
      Ty Burr
    A Glimpse Inside the Mind of Charles Swan III
    The actor/walking disaster known as Charlie Sheen gives a perfectly credible performance here. It’s the rest of the film that tries your patience.
  17. Upside Down
    Solanas’s daring takes the form of ambition. Upside Down has a visionary look that has affinities with everything from “Metropolis” to “Blade Runner” to “Children of Men.” Solanas has the temerity to split the screen horizontally in many shots. Usually, this works, though “Upside Down” is not recommended for anyone subject to visual dislocation.
    • 80 Metascore
    • 88 Reviewed by
      Ty Burr
    West of Memphis
    While the “Paradise Lost” films captured events as they unfolded in the heat of battle, West of Memphis has the luxury of at least partial closure.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    Like Someone in Love
    The new film is slender, and it plays obliquely with the style of the 20th-century Japanese master Yasujiro Ozu: simple shots of simple people revealing universal truths.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    The Call
    You’ve seen pieces of this movie in “Psycho,” “Silence of the Lambs,” and 2004’s “Cellular.” Still, the early scenes in the Hive give The Call a needed novelty: It’s a workplace drama, and the work is responding to other people’s desperate worst-case scenarios.
    • 44 Metascore
    • 50 Reviewed by
      Ty Burr
    The Incredible Burt Wonderstone
    The hair is funny, in part, because not much else is. “Burt Wonderstone” is a lazy, underwritten imitation Will Ferrell movie.
  22. Downeast
    An elegy for a vanishing emblem of what once characterized this country's vitality.
    • 76 Metascore
    • 100 Reviewed by
      Ty Burr
    Night Across the Street
    The arrival of Raúl Ruiz’s final work, Night Across the Street, brings the total to four, an elegant, clear-eyed bridge game of artists playing their last trump cards.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    Lore
    I’m not sure Lore holds up to repeated viewings — Shortland’s style is so feverish it could quickly turn precious — but it demands to be seen at least once.
    • 81 Metascore
    • 88 Reviewed by
      Ty Burr
    No
    No is a comedy, but of a dangerous sort. Its eyes are open and the laughs tend to stick in your throat.
    • 53 Metascore
    • 75 Critic Score
    Don't Stop Believin': Everyman's Journey
    In the end, that debate might not matter, anyway. What makes Don’t Stop Believin’  work is that we’re along for every step of Pineda’s journey, from his not-so-stunning first day of auditioning to his performances in front of huge crowds to his backstage massages from a masseuse (presumably the band’s).
  27. Little Fugitive (re-release)
    This is a world where people still put out wash to dry on fire escapes, watermelon has seeds, amusement park rides cost 9 cents. Joey is the little fugitive of the title, of course, but at the heart of the movie, as its makers could never have imagined 60 years ago, is a much bigger fugitive: time itself.
  28. Yossi
    Knoller manages to make even a withdrawn character compelling, and worth rooting for as Yossi struggles to shed his shell.
    • 43 Metascore
    • 50 Critic Score
    The ABCs of Death
    Do your tastes delve into the sick, ultra-violent, and disturbing? Then you may find The ABCs of Death, an anthology of about two dozen short films, inventive and funny. Otherwise, as you consume this serving of alphabet soup, “A” may as well stand for “atrocious,” “B” for “bloodbath,” and “C” for “check, please.”
  30. Emperor
    When MacArthur stands side by side with Hirohito (Takatarô Kataoka), it’s the ultimate in victor-vanquished encounters. That’s also true whenever Jones shares a scene with Fox.
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