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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  1. House at the End of the Street
    This is a terrible little movie even by the standards of the genre.
    • 67 Metascore
    • 38 Reviewed by
      Ty Burr
    The Ambassador
    A sociopolitical prankumentary in which the prank blows up in the filmmaker's face, exploding-cigar style.
  3. 10 Years
    An inconsequential high-school-reunion comedy that gets better when it stops trying to make you laugh.
    • 58 Metascore
    • 63 Reviewed by
      Ty Burr
    Trouble with the Curve
    The script is by first-timer Randy Brown, but it feels as if it were spit out by one of the assistant GM's computers, so regular are its beats and revelations.
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    For Ellen
    It has a sense of drift that both vexes and beguiles.
  6. End of Watch
    The camera is just everywhere, from the point of view of everything. When I left the movie the other night, people complained of seasickness.
  7. Step Up To The Plate
    The movie's patient in the way of "El Bulli: Cooking in Progress" or "Jiro Dreams of Sushi." That's where culinary nonfiction is now - sleepy, observant. And, for the most part, that's OK.
  8. Liberal Arts
    Radnor's script is more bittersweet than laugh-out-loud funny.
  9. Chicken with Plums
    Chicken With Plums has Iran in common with "Persepolis," but little else. Largely, though not entirely, live action, it's a fairly traditional story about thwarted love - a kind of fairy tale for grown-ups.
  10. The Master
    Nothing as big and strange and right as The Master should feel as effortless as it does. That's not the same as saying that it's light. It's actually heavy. It weighs more than any American film from this or last year. It's the sort of movie that young men aspiring to write the Great American Novel never actually write.
  11. Dredd
    Pretty clearly determined to deliver the antidote to Stallone's movie, the filmmakers take their cues from Christopher Nolan's Batman filmscape, dropping Dredd into a fictional concrete sprawl (actually South Africa) that's relentlessly grounded, visually and dramatically. In a generic way, the environment works.
  12. China Heavyweight
    Where Wiseman excelled in respecting the broad rhythms and pure storytelling of the ring, Chang's new documentary focuses on the stories of three boxers and weaves them into a compelling narrative that rivals anything Hollywood could script.
  13. Detropia
    The title is an imagined word to describe a hard-to-imagine (but very real) place. Combine "Detroit" and "dystopia" (the opposite of utopia) and Detropia is what you get.
    • 73 Metascore
    • 88 Reviewed by
      Ty Burr
    Knuckleball!
    The movie's a must for baseball fans in general and Red Sox fans in particular - if nothing else, it will help remove the battery-acid taste of the season now stumbling to a close.
  15. Three Stars
    Maybe because Hachmeister has a background in journalism, his movie endeavors to educate by covering a lot of ground in its 90-plus minutes, which is certainly commendable, it's just not that satisfying.
  16. Resident Evil: Retribution
    Funny about retribution, though - it's a tricky thing to make time for when you've still got mutant zombie hordes after you. The real premise turns out to be a busy rehash of the first movie's story line.
  17. Last Ounce of Courage
    The problem with this numbskull travesty isn't that it's fatuous and smug (which it is). It's that it's slack and dull.
  18. Planet of Snail
    The Korean documentary Planet of Snail is spare and unemphatic - too much so - with an abiding sweetness of spirit.
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    Little White Lies
    Of the two French films opening in the Boston area today - "Beloved" is the other - Little White Lies is the less ambitious, more watchable, and ultimately more annoying.
    • 55 Metascore
    • 63 Reviewed by
      Ty Burr
    Beloved
    At 40, Mastroianni is looking more and more like her father, Marcello Mastroianni. She has his eyes and that air of existential befuddlement, and she's beginning to suggest the magnificent ruin he became in his later career.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Shut Up and Play the Hits
    Shut Up is intentionally slapdash, with jumbly hand-held cameras and random bursts of feedback. But there's a beguiling sense of quiet to it, too.
    • 73 Metascore
    • 63 Reviewed by
      Ty Burr
    Arbitrage
    Arbitrage is a breezy watch, with good performances that don't cut very deep and an eye for décor but little interest in what it's decorating. What's missing, really, is outrage, or a sense of the 99 percent.
  23. The Inbetweeners Movie
    If nothing else, The Inbetweeners Movie earns itself a footnote in any comprehensive history of local movie exhibition. This has got to be the first time a wedgie has been inflicted onscreen at the Kendall.
  24. Kumaré
    What is offensive is how the masquerade punks these other people - and to no seeming purpose, other than to provide Gandhi with footage for this documentary.
  25. Samsara
    The result is like an issue of National Geographic gone mad.
    • 74 Metascore
    • 75 Critic Score
    Marina Abramovic: The Artist Is Present
    The oddest moment in this riveting documentary comes when Marina Abramovic, the performance artist, meets David Blaine, the illusionist.
  27. Bachelorette
    Dunst is the realest, rawest thing in the film.
  28. The Words
    The Words aspires to depths greater than the sex we never see these two have. There's nothing for the eye to do while the ear fills with the banalities of two streams of narration, one by Dennis Quaid, the other by Jeremy Irons, all of it built around a lie.
  29. For a Good Time, Call...
    This movie is basically where some small-screen comedy in the last year has been: "2 Broke Girls," "New Girl," and, their far superior sister, "Girls."
  30. The Possession
    Oh my God, evil. What's with you? Ever since "The Exorcist," it's been the same song-and-crab-dance: Demons don't kill, divorce does.
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