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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    • 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  12. 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.
  15. 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.
  16. 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.
  17. 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.
    • 28 Metascore
    • 38 Reviewed by
      Ty Burr
    A Good Day to Die Hard
    There are two problems with A Good Day to Die Hard: It’s terribly filmed and nothing in it makes any sense.
    • 52 Metascore
    • 63 Reviewed by
      Ty Burr
    Beautiful Creatures
    It’s all a big, gluey metaphor for a girl’s sexual fears and raging mom conflicts, and, as in “Twilight,” the metaphor itself gets buried under mounting waves of CGI nonsense and a ridiculous back story about reincarnated Civil War lovers.
  21. Safe Haven
    A movie that passably ambles along in generic-melodrama mode before finally insulting audience intelligence one time too many.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    56 Up
    The attitude of many “UP” fans hovers between voyeurism and concern, between cherishing these people as distant friends and as extensions of ourselves. They’re canaries in the coal mine of human existence.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    Side Effects
    A sleekly clever murder mystery, the film plays as many games with the audience as it does with its characters, and for the majority of the running time — the challenge comes from matching wits with what you’re seeing.
    • 35 Metascore
    • 25 Reviewed by
      Ty Burr
    Identity Thief
    Unfunny, predictable, and vulgar, it’s the generic equivalent of a Judd Apatow movie. As always, you get what you pay for.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Stand Up Guys
    We get it: Stand Up Guys is supposed to be cutesy criminal magic realism. But Stevens, an actor turned director, never finds the right vibe, and the movie's genuinely creepy misogyny sours the attempts to go sentimental in the final act.
  26. Parker
    The best we get here are modest action diversions.
    • 18 Metascore
    • 38 Reviewed by
      Ty Burr
    Movie 43
    The line between gross-out humor that's inspired and the kind that's witless is fine indeed, and Movie 43 obliterates it with poop and movie stars.
  28. Bullet to the Head
    It's a surprise that Stallone is as funny as he is playing a hit man paired with a cop in Bullet to the Head. He's man-cave witty in a way that his "Expendables" movies have strived for but haven't really managed.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Warm Bodies
    I don't know if the first zombie date flick is a step forward or backward for civilization as a whole, but I can say that Warm Bodies pulls off a pretty impressive trick: It has its "Twilight" and goofs on it too.
  30. Hansel and Gretel: Witch Hunters
    Wirkola tears through Hansel & Gretel: Witch Hunters with such giddy abandon, it ends up being splattery fanboy fun. Preposterous, clearly, but fun.
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