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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  1. The Expendables 2
    As it stands, The Expendables 2 is lazily satisfied with repeating the first movie's formula, shortcomings and grisly strengths alike.
  2. Restless City
    With Dosunmu, African culture thrives in a demographically shifting but historically African-American part of town. If the idea is that Nollywood could work in Manhattan, this is the director who can show us how.
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    2 Days in New York
    Chatty, neurotic, maddeningly messy, often very funny, "New York" spins in a lunatic orbit of its own.
    • 59 Metascore
    • 63 Reviewed by
      Ty Burr
    Celeste and Jesse Forever
    The movie is sardonic, hip, heartfelt, surprisingly white, and for all its ensemble pleasures, it's squarely about a furiously prim young woman and how she learns to bend.
  5. The Imposter
    Beverly Dollarhide, Nicholas's mother, says of the period after her son's disappearance, "My main goal in life at that time was not to think." Apparently, the filmmakers have taken a cue from her. At least her unwillingness to think makes sense.
    • 72 Metascore
    • 50 Reviewed by
      Ty Burr
    ParaNorman
    ParaNorman is supposedly for kids, but it's really aimed at their snarky older brothers, and it illustrates the limits of the new family creepshows.
  7. Sparkle
    It's a better movie than what's inspired it, but that fails to explain much. It's like preferring the line at the concession stand to the one for the bathroom.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    The Odd Life of Timothy Green
    It's the sort of thing you'll either find enchanting or an excellent reason to reach for the Scotch.
  9. The Matchmaker
    How does a filmmaker tell a Holocaust story that hasn't been told before? The Matchmaker does it by weaving fable with realism, coming-of-age innocence with adult grief, and guilt with romanticism.
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    The Campaign
    It's just another happily idiotic Will Ferrell comedy, ably directed by Jay Roach ("Meet the Parents," "Dinner for Schmucks") and tossing its bawdy jokes at the side of the barn.
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    The Bourne Legacy
    The best thing that can be said about The Bourne Legacy is that Renner will survive it.
  12. Hope Springs
    You feel embarrassed for Streep and Jones (Streep especially) because of the situations, often sexual, they're put in. They're definitely not mailing in their performances.
  13. The Babymakers
    The squirminess stands out here because there's so little going on the rest of the time.
  14. Klown
    It can seem sometimes that Hollywood has a monopoly on stupid, obnoxious comedy. Anyone who sees Klown will learn otherwise. Comedy can be just as stupid and obnoxious in Danish.
  15. Diary of a Wimpy Kid: Dog Days
    Compared to the first two movie installments, this one is uncharacteristically scattershot in the life-lessons department.
  16. Ruby Sparks
    Much of the film is pure romantic comedy and a good one. Yet the filmmakers want it to be more.
  17. Easy Money
    In some ways Easy Money recalls Steven Soderbergh's "Traffic." They have drug dealing in common, of course, but also a sense of constant swirl and density of onscreen population.
    • 81 Metascore
    • 100 Reviewed by
      Ty Burr
    Ai Weiwei: Never Sorry
    Alison Klayman's documentary is one of the most engagingly powerful movies of the year almost completely on the strength of Ai's rumpled charisma and the confusion it creates in the bureaucratic mindset of the Chinese Communist Party.
    • 43 Metascore
    • 50 Reviewed by
      Ty Burr
    Total Recall (2012)
    The only laugh to be had in Total Recall, a ripsnorting sci-fi action extravaganza that starts well and works its way down to average, is in the opening credits, where we learn that the movie's primary production company is called Original Film. Really?
    • 80 Metascore
    • 88 Reviewed by
      Ty Burr
    The Queen of Versailles
    Queen of Versailles is still worthwhile, not because it questions all-American entitlement but because it prompts us to think hard about what, exactly, we believe we're entitled to.
  21. Hara-Kiri: Death of a Samurai
    It's superb filmmaking, uncluttered and utterly assured. Miike places us in the household of Li, offering up rich, deep colors, with an almost painterly exploration of fields of depth and volume.
  22. Farewell, My Queen
    One of the movie's strengths is how we see the revolution - or, rather the anticipation of it - not from the perspective of royal or radical but courtier and servant.
  23. The Well Digger's Daughter
    Say this for Auteuil: He has a sense of movie history. The closing credits include the equivalent of an Easter egg for lovers of film and especially for lovers of French film.
  24. Sacrifice
    Sacrifice wants to have it both ways. It's willing neither to give itself up to the goofy sincerity of genre conventions nor to make the demands on viewers that serious drama requires. The sacrifices Chen's characters make would signify that much more if he'd made a sacrifice or two himself.
    • 43 Metascore
    • 50 Critic Score
    Step Up Revolution
    Don't roll your eyes just yet. Step Up Revolution, enhanced by 3-D and set in glitzy Miami, is not as cringe-worthy as you would expect from the fourth "Step Up" installment.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    The Watch
    It's another one of those loud, penis-obsessed bro farces, lazily written (by actor Seth Rogen, among others) and haphazardly directed.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    Trishna
    Trishna should move the soul and engage the tear-ducts, yet it passes by as distant as it is lovely. And the blame must fall on the movie's star, Freida Pinto.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    Unforgivable
    Everyone is equal parts emotional victim and villain in Unforgivable, an elegantly rambling Franco-Italian affair about the ways we do each other wrong while trying to do each other right.
  29. The Day He Arrives
    The verb in the title of The Day He Arrives doesn't refer so much to a traveler reaching a destination as to a man finding himself - or hoping to.
    • 78 Metascore
    • 88 Reviewed by
      Ty Burr
    The Dark Knight Rises
    Nolan brings his Batman trilogy to a close with a majestic, almost completely satisfying crash. Everything feels epic about the film: the characters, the effects, the emotional stakes - even the missteps (and there are more than a few).
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