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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    • 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.
  4. 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).
  9. 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.
  10. 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.”
  12. 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.
    • 35 Metascore
    • 50 Critic Score
    The Last Exorcism Part II
    Once the “what is real, what is fantasy” questions are answered, and exorcism part deux commences, The Last Exorcism Part II abandons its half-intelligent, tender exploration of Nell’s vulnerability and desirability
    • 39 Metascore
    • 50 Reviewed by
      Ty Burr
    Dead Man Down
    Before this urban revenge melodrama falls apart in a clatter of plot absurdities and pretensions, it has its loopy charms.
    • 56 Metascore
    • 25 Critic Score
    Greedy Lying Bastards
    The film’s zippy graphics are a treat, but its zippy arguments are slipshod.
    • 44 Metascore
    • 50 Reviewed by
      Ty Burr
    Oz the Great and Powerful
    Which is precisely what’s missing from Oz the Great and Powerful: that sense of emotional journey.
  17. 21 and Over
    Among the ingredients “21” is missing: the infectiously random silliness of a Zach Galifianakis, the smug hunkiness of a Bradley Cooper, and any sort of Vegas-y gloss whatsoever.
  18. A Place at the Table
    As morally engaged as the movie is, it’s also argumentatively slack. Precisely because it’s so easy to agree that hunger is bad, it’s hard to agree what to do.
  19. Phantom
    The crew doesn’t much look the part either, save for Schaech’s Stalin ’stache. Yet the movie does show the ability to get past this, even with the weight of all its narratively risky conspiracy theorizing. It’s a shame the intrigue has to get torpedoed by elements that mostly feel correctable.
  20. Let My People Go!
    You don’t have to be Jewish to love borscht belt humor, or gay to love camp, or French to love farce. But when all three are thrown into a blender with a dollop of generic family dysfunction, as is the case in Let My People Go!, oy vey doesn’t begin to address the result.
    • 57 Metascore
    • 63 Reviewed by
      Ty Burr
    Rubberneck
    What’s good about Rubberneck is also what makes it tough to watch: Karpovsky burrows under the skin of this repressed romantic nebbish until the frame seems ready to burst.
    • 58 Metascore
    • 75 Reviewed by
      Ty Burr
    Stoker
    The performances are excellent, but it’s the direction that lifts the movie up and spins it around. Like Hitchcock, Park storyboards everything ahead of time, and while that level of control might seem claustrophobic in theory, it ends up freeing Stoker to sail into zones of malevolent visual sensuality.
    • 91 Metascore
    • 100 Reviewed by
      Ty Burr
    The Gatekeepers
    It’s about spycraft, but it goes to the source. If for no other reason, it deserves to be seen for arranging decades of events in the Middle East into a chronology that, to an outsider, makes dreadful sense.
  24. Jack the Giant Slayer
    A giant chef character is an icky bit of inspiration (complete with booger humor to soothe any shell-shocked young’uns in the audience), and the monsters are key to an epic-scale third act. If you thought the tale ended when Jack clambered back down from the skies, then you haven’t given it as much thought as Singer.
    • 93 Metascore
    • 88 Reviewed by
      Ty Burr
    Tristana (re-release)
    As much as this tale of bent love runs in the ruts of its maker’s obsessions, it has an undertow that’s impossible to shake. [22 Nov. 2012]
    • 53 Metascore
    • 63 Reviewed by
      Ty Burr
    John Dies at the End
    This loopy slacker horror farce is so intent on playing with your head — and time, and space, and paranoid conspiracy theories — that it doesn’t care about making sense. Which doesn’t stop the film from being a pretty good bad time.
  27. Snitch
    Snitch gets a decent amount of drama (and action, of course) out of the argument that there’s paying for a crime, and then there’s overpaying.
  28. Escape from Planet Earth
    Colorful as the 3-D aliens-among-us comedy is to look at, though, Corddry is handed a role that’s beige as can be, and so are his castmates.
  29. Happy People: A Year in the Taiga
    “Happy” isn’t meant ironically. Herzog, who narrates, clearly loves, and envies, the trappers’ elemental existence and connection to nature.
    • 79 Metascore
    • 63 Reviewed by
      Ty Burr
    Tabu
    A black-and-white fever dream, and, like all dreams, its meanings are elusive. It’s opaque, maddening, often pretentious, yet the pretensions may be on purpose, to push us away from the adulterous colonials at the story’s center and reveal the Africa they’re too obsessed with each other to see.
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