Boston Globe's Scores

For 5,281 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Gomorrah
Lowest review score: 0 P2
Score distribution:
5,281 movie reviews
  1. It has a few laughs, but it also has a lot of dead air, and barely any plot at all. In sporting terms, it's no home run.
    • Boston Globe
  2. fully devotes itself to painting a family portrait seldom allowed such rich cinematic detail.
  3. Scott makes it easy to overlook the conventionality beneath his sometimes overdone but almost always enjoyable combination of atmosphere and propulsiveness.
    • 34 Metascore
    • 75 Critic Score
    All About the Benjamins has: flash, cash, and enough videogenic eye candy to make ''Miami Vice'' look like ''Little House on the Prairie.''
  4. Brings the '30s vividly to the screen.
  5. Somewhat sanitized but gorgeous Americana, with another impressive turn by McTeer.
    • Boston Globe
  6. Made of a serene dynamite that's all but unknown to American film audiences.
  7. At some point we're flashed a junkyard billboard telling us that Collinwood is the ''Beirut of Cleveland'' - yes, but here, it's by way of Looney Tunes.
  8. The real core of The Core is the beautiful friendship between a highly emotive Eckhart and the sacrificial Karyo. Their bond is the best thing to happen to Franco-American relations since SpaghettiOs.
    • 68 Metascore
    • 75 Reviewed by
      Ty Burr
    The actor is magnificent -- ravaged, desperate, aware -- and no more so than in a scene toward the end when Bob's cardsharp cool finally breaks. It's a risky scene, the one note of corn, but Nolte brings it home. Too bad the movie doesn't.
  9. Short without feeling scant. That's how big its sense of grief is.
  10. Suffice it to say that Chris Smith's Home Movie is the most bananas episode of ''Cribs'' ever. The film is Smith's ballad of the wacky homeowner.
  11. Kennedy doesn't take the character any deeper than a caricature of rich, nonblack fans of hip-hop culture. But as a caricature, he's fantastic.
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    Would it be rude to suggest that your time might be better spent with your own children?
    • 69 Metascore
    • 75 Reviewed by
      Ty Burr
    A tale of narrow talent destroyed by pop hubris, raging insecurity, substance abuse, and murder.
  12. A patient, suspenseful exercise in genre craftsmanship
    • 69 Metascore
    • 75 Reviewed by
      Ty Burr
    Without even trying, Coccio may have stumbled over the truest metaphor for Columbine yet.
  13. Executed on a pretty broad level, but if characterization is slighted, the ensemble is so rich, with such depth, that every few minutes another juicy turn keeps coming our way to divert us.
  14. Structural shortcomings and all -- gives a neglected giant of African independence his due.
    • Boston Globe
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Open Hearts, like all good melodramas, is ruthless in its insistence that people are dragged, uncomprehending, in the wake of events.
  15. Employs both eloquent and down-to-earth methods to explain the complex reasons why so many of the world's developing countries remain caught in an economic quagmire that prevents them from becoming self-sufficient.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    It is an honest, dumbstruck, not particularly deep demonstration of how insanely difficult it is to make a movie, any movie, no matter how blithe the end result may appear on screen.
  16. No porno flick posing as art. Nor is it science fiction, though it does contain a few scenes with B-movie overtones. This is a deep and meaningful film, ultimately far more poignant than it is titillating.
  17. No one here is prodding you to laugh. It just happens.
  18. Part of the reason for the comic surehandedness is the obvious chemistry between Shannon, Ferrell, and director Bruce McCulloch.
    • 59 Metascore
    • 75 Reviewed by
      Ty Burr
    Run the game, bow to the movies that did it better and before, keep the dialogue on the line between hard-boiled and hokey, and throw one last curveball before the lights come up. It's a con in itself, but the reward's in the playing.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    As literary desecrations go, this makes for perfectly acceptable, occasionally very enjoyable children's entertainment. You'll forget about it by Monday, though, and if they're old enough to have developed some taste, so will your kids.
  19. Deserves a place alongside "Life Is Beautiful" and, yes, even "Schindler's List."
  20. There's something elegiac in Redford's spy who knows he's a dinosaur but still has a few moves left.
    • Boston Globe
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    These actors offset the modern-day ordinariness of the leads -- Jackson, especially, seems as if he's just driven over from a mall tour -- and so, ultimately, does the exquisite moral dilemma of Tuck Everlasting.
    • 45 Metascore
    • 75 Reviewed by
      Ty Burr
    It's Lopez who's the proper focus of this dream. So intent has she been on becoming a superstar in the past few years that many people have forgotten that, given decent material, she can act.
  21. Maybe the redemptions offered are simplistic in the context of this place, but they make for a dramatic (if heavily foreshadowed) conclusion.
  22. From beginning to end, it bristles with ironies in classic Eastern European absurdist style.
    • Boston Globe
  23. The magic of their perfectly shaded performances is that you always have to wonder ... Is she really that bad?
  24. Puts the fun back into going to Arnold Schwarzenegger movies. He said he'd be back, and he is.
    • Boston Globe
  25. Mixes ''Jetsons''-style futuristic hijinks with a reliable story of a boy inadvertently whisked ''over the rainbow'' to another galaxy where his mettle is tested.
    • Boston Globe
  26. The closer you get to sorting out the truth, the less likely you are to believe it, let alone comprehend it. The latter half of this movie is as outlandish as a Mexican soap opera.
  27. The film would be just as powerful, if less likely to saturate suburban megaplexes and flatter its patrons, were its saviors -- I don't know - French.
  28. What's special about the movie is how totally it believes in itself as a musical. The tunes, co-written by Sandler and a bunch of his pals, take on rock opera and traditional Jewish folk music with boyish exuberance.
  29. In a dismal summer for movies, Osmosis Jones is a fresh breath of foul air.
  30. The best thing about Together, apart from the way some of its characters grow on you even as others put you off, is the way it snatches idealism back from the brink of life-smothering orthodoxy.
  31. There's almost too much there, but the three-hour-plus film permits the kind of detailing that not only brings the storytelling to life, but sometimes persuades us we're breathing to its rhythms.
  32. Hedaya is sublime.
  33. If there's one image that sums up the filmmaking style of Takashi Miike, it's the close-up of a bubbling hot pot on the family dinner table.
  34. Mindless glitz-o-ramas don't get any snazzier.
    • Boston Globe
  35. Isn't just a feel-good movie; it's a feel-good-and-righteous movie. And audiences will forgive its flaws.
  36. It brings an enlivening wit to a comedy of culture collision.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    Love hurts in Secretary -- but not too much. It's not impossible to imagine adventurous young couples seeing this movie and rushing home to try out the handcuffs and paddles.
  37. A solid, not to say ironclad, winner in the less than overcrowded family animation arena.
    • 59 Metascore
    • 75 Reviewed by
      Ty Burr
    Its quirks are exactly what make Signs interesting, entertaining, and good.
  38. Armed with a dinner theater accent and hair that looks like an LP melted on his head, Turturro pockets the picture. As a demonstration of his newly accessed maturity and benevolence, Sandler helps him do it.
    • Boston Globe
  39. Washington and the others score in this predictable but rousing film where the big victory is over attitudes.
  40. Everything you could want in a sequel. It satisfyingly regenerates the characters and qualities that made the first film so popular. And then it moves them forward into newer, fresher, more elaborate, more involving territory.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    Moves the franchise even closer to Indiana Jones territory, with bloodcurdling action scenes and a passel of climactic computer-generated slime beasties unparalleled in their potential ability to -- I'm quoting from both book and film here -- '' rip, tear, rend, kill. ''
  41. The gusto in the flying bullets, the fleeing lovers, and the flowing music will make you want to hang around until the party is over.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    This crudely powerful film is a throwback. Unfolding at an elliptical pace that feels like a revelation, or tedium, or both, Japon recalls the glory days of 1970s art-house filmmaking.
  42. Although there's a certain connect-the-dots quality to the storytelling, there's no denying the care and craftsmanship that Gardos has brought to her debut film.
    • Boston Globe
    • 18 Metascore
    • 75 Critic Score
    This real-life alliance is part of what makes the slice-of-life comedy The Wash work as well as it does, despite a somewhat skimpy though often crassly amusing script written by the film's director, D.J. Pooh.
    • Boston Globe
  43. Medea works on von Trier's own imagistic terms. There are shots and sequences in this movie that feel unique.
  44. May not be as dramatic as Roman Polanski's ''The Pianist,'' but its compassionate spirit soars every bit as high.
  45. A delightful alternative to most current multiplex fare, which wouldn't recognize a juicy bon mot if it tripped over one in the aisle.
  46. Sweetly macabre charmer.
  47. Brightly sidesteps the cliches that cling to the genre like barnacles and reinvents a lot of the old moves.
  48. The cast helps enliven what could otherwise come off as a treatise. All four actors played these roles during the play's off-Broadway run.
  49. Give your brain the night off, and Myers will make you smile too.
  50. In the end, it's simple warmth and sincerity that make this ensemble piece so disarming.
    • Boston Globe
    • 68 Metascore
    • 75 Reviewed by
      Ty Burr
    It's maddeningly chowderheaded, simplistic, pretentious, and not a little silly. You can't take your eyes off it.
  51. The film's unhurried pace is actually one of its strengths. Entirely appropriately, the tale unfolds like a lazy summer afternoon and concludes with the crisp clarity of a fall dawn. That's not just a farm movie, that's life.
  52. D'Onofrio's affably wide-eyed weirdness generates not only pleasure, but a genuinely authentic conundrum, bouncing forward and backward toward the truth.
    • Boston Globe
  53. This is that rare art flick whose subject goes nuts because his work is not self-indulgent ENOUGH.
    • 23 Metascore
    • 75 Reviewed by
      Ty Burr
    Bloody and bloody funny, and Jackson and Carlyle make the best salt-and-pepper team since Eddie Murphy and Nick Nolte knocked heads in ''48 HRS., '' but ultimately the movie can't find a way out of its own dead end.
  54. As luminous as the star presence at its center. It's at once a touching teacher movie and an even more touching love story.
    • Boston Globe
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    A broad, very funny, unexpectedly graceful comedy of character and community.
  55. Even when it falls back excessively on coincidence and contrived set pieces, even when it gushes irretrievably over the top in its final act, Washington makes Training Day sizzle.
  56. Distress of Parents is a real pleasure.
  57. Isn't always on the money, but when it is, it really is.
    • Boston Globe
  58. Charming and, compared with most Hollywood films like it, refreshing.
    • Boston Globe
    • 85 Metascore
    • 75 Reviewed by
      Ty Burr
    How you feel about About Schmidt may depend in large part on how you feel About Jack.
  59. The film is profane. But who knew police brutality could play as a laughing matter?
  60. The reason Bread and Roses works as well as it does is that as didactic as it sometimes gets, its heart is always bigger than its ideology.
    • Boston Globe
  61. Corny. But it's corny in a way that a Hollywood movie about a boy who just wants to go home ought to be corny. Plus when it's done with this much care, corny works for me.
  62. Slightly misshapen and unbalanced, with a few loose ends, a few extraneous dream sequences. But there's something going on all the time.
    • Boston Globe
  63. Wacky enough and gadget-driven enough to appeal to bored kids looking for fresh energies.
    • Boston Globe
  64. They're as special as special effects get.
    • Boston Globe
  65. Titanic is a big-budget spectacle and director Cameron brings it off with high-tech bravura, placing us aboard the ship in real time.
  66. The film spends its first half explaining the song -- famously and vividly about the cycle of Southern lynching. Its better second half-hour unmasks its composer as a compassionate Jewish guy from the Bronx.
  67. It's the kind of movie you can settle into, secure in the expectation that you can steal from it more than a little vintage Allen fun.
    • 84 Metascore
    • 75 Critic Score
    An epic film in every respect.
  68. A babe-athon, pure and simple.
    • Boston Globe
  69. Too quick to uncritically and unthinkingly accept its subject's rollickingly self-mythologizing take on himself.
    • Boston Globe
  70. Loaded with priceless encounters that would seem incongruous in any other movie but play here as low-comedy facts of some parts of black life.
  71. The film never quite hits a sure-footed stride. The fictional love story stays fictional. But ''Pearl Harbor'' delivers the main event.
    • Boston Globe
  72. Despite its conceptual shortfall, is worth seeing, if only to update yourself on what can emerge from a keyboard these days.
  73. Sequels and fun don't often coincide, but this time they do.
    • Boston Globe
  74. It plays like Scorsese's ``After Hours,'' but for higher stakes.
  75. Frears makes every note count for a lot in this beautifully gauged microcosm of big emotions expressed in small gestures.
    • Boston Globe
  76. (Duffy) navigates the twisted collision of religious faith and the thrill of the kill, altruism and brutality, with an ingenious mix of humor, horror, mysticism, and just plain hipness.
    • 52 Metascore
    • 75 Reviewed by
      Ty Burr
    This is all far beyond silly, of course - the most inconsequential sort of winking, meta-movie in-joke.
  77. Could have been -- and should have been -- richer and more resonant. It's Hollywood Babylon Lite, only TV movie-deep. But at least it's tangy.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    The Academy accepts submissions only from real countries, and Palestine isn't one. This is as good a joke, and as dark, as anything in the movie.

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