Boston Globe's Scores

For 5,401 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 I'm the One That I Want
Lowest review score: 0 Gigli
Score distribution:
5,401 movie reviews
  1. There’s no end in sight, and that’s what’s really insidious.
  2. The Korean documentary Planet of Snail is spare and unemphatic - too much so - with an abiding sweetness of spirit.
  3. Watching the movie made me long for the big , risky ideas and entertainingly fearless filmmaking in David O. Russell's "I Heart Huckabees " and Spike Jonze's "Adaptation ," which Kaufman wrote. Both were similarly conceptual escapades, but they let it all hang out.
    • 33 Metascore
    • 38 Reviewed by
      Ty Burr
    Watching the movie is a little like picking up issue #42 of a comic book after you've skipped the first 41: There's an entire back story mythos hovering in the background like a phantom limb.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Jarmusch has come up with a dud.
  4. Underdog! Rest assured, there is no superhero cliche left unchewed; they even manage to slide in a "Lady and the Tramp" homage while they're at it.
    • 25 Metascore
    • 38 Critic Score
    Shamelessly exploits the horror of domestic violence for melodramatic, cheap thrills.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    You'll come away from Legendary with no sense of what amateur wrestling is about.
  5. Awful in ways that are just clever enough often enough to make it intermittently watchable.
  6. It is all style and no substance.
    • Boston Globe
  7. The first step in getting beyond preaching to the converted is letting the other side show how wrong it might be.
  8. The secret here is that the movie is rather tasteless. It has the high, slightly nauseating stink of perfume on garbage.
    • 64 Metascore
    • 38 Reviewed by
      Ty Burr
    Regrettably, it’s terrible poetry: a roughly chronological jumble of archival footage, unconvincing period reenactments, gauzy voice-overs, and half-baked ideas that makes one yearn for the stolid dullness of a History Channel documentary.
  9. The movie is a work of ambivalence. Is English making fun of these women? Or is she making a pilot for Lifetime?
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    The general consensus on this one: Rats.
    • 50 Metascore
    • 38 Reviewed by
      Ty Burr
    Sometimes a cute-stalker movie can win the audience's heart. Management only makes you ponder the line between true love and a restraining order.
  10. Good Deeds is the first of the 11 movies he's written and directed to try a one-tone-fits-all approach. Sadly, that tone is funereal, and it's always a beat out of step with the rhythms of both real life and most movies.
    • 44 Metascore
    • 38 Reviewed by
      Ty Burr
    A grimly preposterous serial-killer thriller set in 19th-century Baltimore, this riff on the final days of the author of "The Tell-Tale Heart" and other masterpieces of the macabre might qualify as literary desecration if it weren't so silly.
  11. A lot of striking pictures in this would-be feminist "Braveheart," but a film that's pretty flat and earthbound because of the limitations of the figure at its center.
    • 54 Metascore
    • 38 Reviewed by
      Ty Burr
    If ever a movie were lost in translation, it’s Mood Indigo, the latest from the scattershot genius Michel Gondry (“Eternal Sunshine of the Spotless Mind,” “The Science of Sleep”). With his penchant for sad-sack dreamers and gonzo visual gags, Gondry can make a director like Wes Anderson look like a prig, and “Mood” allows him freer access to his fancy than usual.
    • 40 Metascore
    • 38 Reviewed by
      Ty Burr
    The film's biggest miracle is the straight face Nick Nolte maintains in his role as Socrates.
  12. Though not everyone agrees, Ben Stiller’s “The Secret Life of Walter Mitty” came close to finding the secret for making a movie about the secret of happiness. Peter Chelsom’s Hector and the Search for Happiness tries hard, but fails. Miserably.
    • 55 Metascore
    • 38 Reviewed by
      Ty Burr
    It’s been a while since there’s been this much dead air onscreen; over and over, Smith sets up a sequence, lets his actors shpritz, and stands by as the energy fades into giggly catatonia.
    • 35 Metascore
    • 38 Critic Score
    A movie where the miracles -- and treacly moments -- keep topping each other.
  13. Watching Granger and Priya chase each other around a hotel like squirrels in a park, you wonder what these two see in each other.
  14. Meretricious without being entertaining, it's an easy game -- and an easier film -- to sit out.
    • Boston Globe
  15. A fatally insubstantial film.
    • Boston Globe
  16. The repartee, as ever, is weak. Even with all the extra layers of digital detail, it’s still tough to keep these four straight. And the CG characters’ slimy rendering and motion-capture expressiveness could go down with “The Polar Express” as a study in inadvertent, technologically misguided screen creepiness. Wackier would have been OK, guys — it’s the Ninja Turtles.
  17. As tiresome as the relentless, indulgent inscrutability and lack of story momentum can be, it says something for the movie’s visceral power that there isn’t an urge to quit on it.
  18. The plot doesn’t take clever turns, the visual thrills aren’t all that thrilling, and you’re ultimately left to get your heist-movie kicks elsewhere.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    A bumptious splatter farce that manages to improve from awful to moderately engaging as its cast is winnowed down to the five guys themselves.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    The biggest unresolved question here is why we're paying $9.50, plus popcorn, for something we can presumably get at home for free.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    It's coherent, well shot, and tartly acted, but it wears you down like a dinner guest showing off his doctorate.
    • 46 Metascore
    • 38 Reviewed by
      Ty Burr
    It might even work if In the Cut was remotely convincing as a thriller, but Campion can't help wrinkling her nose at genre.
  19. Crude, lewd comedy that makes ''Animal House'' seem wholesome.
    • 35 Metascore
    • 38 Reviewed by
      Ty Burr
    Ghost Rider is the kind of movie that's great stupid fun as long as someone else is buying the tickets.
    • 40 Metascore
    • 38 Reviewed by
      Ty Burr
    Dazzling to behold yet puny of imagination, the movie takes the “Star Wars” formula — hero myths nicked from Joseph Campbell, cutting-edge visual effects, comic-strip dialogue, goofy-looking aliens — and reduces it to generic Big Box shelf product.
  20. It's hard to believe anyone would think importing a French comedy was a good idea.
    • Boston Globe
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    All that’s missing is Clyde the orangutan from Clint Eastwood’s “Every Which Way But Loose,” which, trust me, this movie could have used.
    • 46 Metascore
    • 38 Reviewed by
      Ty Burr
    Perhaps the biggest disappointment is that The In-Laws was directed by Andrew Fleming, who delivered the fizzy Nixon-era comedy ''Dick'' a few years back and who also had a hand in ''Grosse Pointe,'' the wicked, briefly-lived WB parody of TV teen dramas. The man obviously knows from satire, but not on the evidence of anything here.
  21. Flirt has its moments, and Ewell and Nikaidoh are auspicious additions to the Hartley rep company. But Flirt will appeal mostly to Hartley completists. [23 Aug 1996]
    • Boston Globe
    • 38 Metascore
    • 38 Critic Score
    Occasionally veers so far into absurdity that it manages to make its central character - capable, smart, working mom Kate Reddy - look like a nitwit.
  22. It’s a Christmas nightmare, stuck with two obnoxious relatives who think they’re funny, and won’t shut up.
    • 43 Metascore
    • 38 Reviewed by
      Ty Burr
    A textbook example of how a director can strip away plot, motivation, character, and meaning and still leave arrant pretension standing tall.
    • 38 Metascore
    • 38 Reviewed by
      Ty Burr
    Works so hard to be inoffensive that you may well be offended.
  23. One hopes that, for their own good, when any of these actors are offered a script like this again, they’ll have the sense to just say no.
  24. A one-trick action thriller that feels like a poor cousin of an episode of ''24." Call it ''12."
  25. The fundamental value put forth in Brown’s “Sunday” sequel is not fearlessness but “family.”
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Almost but not quite as obnoxious as its title. Little kids will love it. You’ll need a hazmat suit.
  26. It seems endless. It's also unusually crude and stupid, even for an Arnold Schwarzenegger movie.
    • 32 Metascore
    • 38 Reviewed by
      Ty Burr
    The bad news, for those looking forward to The Santa Clause 3: The Escape Clause with anything like enthusiasm, is this: Bernard the Elf is history.
    • 47 Metascore
    • 38 Critic Score
    In this bilingual morality movie about love, family, and fate, however, the unpredictability turns out to be highly predictable.
    • 48 Metascore
    • 38 Reviewed by
      Ty Burr
    21
    The movie's chief audience, consequently, will probably be gullible and young, responding to the cliches only because they haven't seen them before. They have a word in Vegas for these people: Suckers.
  27. Dukakis gets off some of the film's best lines and keeps the worst from sinking the whole affair; Polley's role is limited, but her character's audition for a feminine hygiene commercial is by far the best thing here.
    • 35 Metascore
    • 38 Reviewed by
      Ty Burr
    2 1/2 hours of tumescence disguised as a motion picture.
  28. Cox doesn’t so much chew the scenery as inhale it. Dano looks on in awe.
  29. Franco can be exhilarating in movies -- tremulous, unhinged, a little wild. Here his jaw never stops quivering and his eyes stay welled up, advertising a breakdown that never comes. Not that Myles has a presence a man would fall apart over. She's too professional to drive anybody crazy.
  30. Eckhart doesn’t really do any of that classic grunting as Frankenstein 2.0, but maybe he should have.
  31. It's actually a pretty lousy thriller.
  32. The film logs almost all of its laughs when it's at its crudest, meanest, and most unfiltered. Everything else - and that is to say most of the movie - is a big, fat, derivative waste of time.
  33. Occasionally wills itself to rude, crude life. But most of the time it's pretty limp.
    • 55 Metascore
    • 38 Reviewed by
      Ty Burr
    Hints at a place where desire, fear, pleasure, and power all intersect, but it never actually goes there.
  34. Finding Home is well meant and earnest but is stretched to almost twice what would have been a comfortable length.
    • 40 Metascore
    • 38 Reviewed by
      Ty Burr
    Butter dearly wants to be a hot-button social satire that plays rough with sacred cows: Midwestern power-moms, the religious right, race, sex, you name it. Mostly, it wants to be an Alexander Payne movie from the 1990s. "Citizen Ruth," say, or "Election." Instead, it's a shrill, cartoonish mess.
  35. The tame, confused script eventually sinks the film, although Field shows skill directing actors.
    • Boston Globe
  36. Seeing her (Kidman) in junk like this is a bit like watching the Queen of England eat a Taco Bell chalupa.
  37. Noe's summation is an ideological sucker-punch from a filmmaker who gets off on abusive relationships. He may as well have thrown a big ''whatever'' up on the screen.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    A "great poet" movie, the poet in this case being Dylan Thomas, and it's utter bollocks.
  38. The horrible anticipation he [Aja] builds is derailed by a gimmick that makes the twist in, say, ''Fight Club" seem perfectly logical. To say more would be to ruin the movie, and why should I do that when its own makers have done it for you?
  39. The limp script actually has the characters spout ''Let's get outta here!'' more than once. Or maybe that's just a wise member of the audience talking.
  40. It’s just like the Kenny Rogers song says: “You’ve got to know when to hold ’em, know when to fold ’em.” It’s time for this Gambler to walk away.
    • 53 Metascore
    • 38 Reviewed by
      Ty Burr
    A noisy and lazy stopgap movie that goes absolutely nowhere and takes 2 1/2 hours to get there.
    • 35 Metascore
    • 38 Reviewed by
      Ty Burr
    Primeval is a hoot if you're in the mood, though, and it gets points for trying to stuff a little globo-think into the minds of Friday night mayhem fans (who will probably rebel, since only one skull pops like a grape).
    • 50 Metascore
    • 38 Reviewed by
      Ty Burr
    Not good enough to take seriously and, sadly, not bad enough to be any fun.
    • 62 Metascore
    • 38 Reviewed by
      Ty Burr
    Big Eyes may not be Tim Burton’s absolute worst movie — we’ll always have “Planet of the Apes” — but it’s pretty close to the bottom. It’s also the film that reveals his weaknesses as a director and, by their absence, his strengths. Gaudy, shallow, shrill, smug, the movie proves beyond a whisker of doubt that Burton has little interest in human beings unless they can be reduced to cartoons.
  41. At the very least, a movie like this requires coherence to stay afloat. Barring that, it needs a star to distract us.
  42. The one-sidedness of Farmageddon isn't just an artistic failing. It's an argumentative failing, too.
    • 40 Metascore
    • 38 Reviewed by
      Ty Burr
    Del Toro does remind you of Brando here; unfortunately, it's the Brando of ''Apocalypse Now,'' the one with the green face and puffy line readings. Jones fares better, even if he wears the same grieving-for-humanity expression throughout the film.
    • 34 Metascore
    • 38 Critic Score
    A veritable rip-off of 1995's "The Usual Suspects," Beach's crime caper not-so-subtly apes Bryan Singer's use of multiple red herrings and flashback-heavy interrogation scenes, but lacks the stylistic flair and sophisticated narrative skills to pull off a similar feat of cinematic intrigue.
    • 48 Metascore
    • 38 Reviewed by
      Ty Burr
    Works hard to give quirk a bad name.
    • 52 Metascore
    • 38 Critic Score
    It was possible to hope that Blade II would turn out to be good. Well, forget it.
  43. Nothing works. Or some of it works, but that doesn't matter because what's working is so deeply, painfully boring.
  44. Audiences are going to want to brace themselves, too – for a movie that refuses to recognize when it’s going too far, with its wince-eliciting jokes about jailhouse rape in particular.
  45. It's not boring to watch, but in the end it's too lame and too tame. [21 Apr 1995]
    • Boston Globe
    • 30 Metascore
    • 38 Reviewed by
      Ty Burr
    If most December movie releases are epic-length and Oscar-ambitious, then Punisher: War Zone has to be considered Hobbesian counterprogramming: It's nasty, brutish, and short.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    Young children and adults with high pain thresholds will enjoy the movie during its brief pause on the way to your On Demand menu.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    It must have looked great on paper. On screen, it’s a soapy mess that even Joan Crawford in her delusional late-period prime couldn’t save.
  46. Some bad movies can make you feel awful for the people who made them and worse for the audience that shows up. The actors, the script, the camera: There's nowhere good they can go. For Greater Glory is that kind of bad movie: a total embarrassment.
  47. Unlike most of what Moore has been in, Dedication is unlikely to delight retirement homes on movie night. But it's not imaginative, lively, or true enough to speak to its intended audience of American Apparel shoppers, either. It's a slog.
  48. The most popular facial expression for victims in The Grudge 2 is something I'd like to call "deep befuddlement." This time "deep befuddlement" goes double for paying customers.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    Watching Arthur and the Invisibles is like sticking your head in a Gallic pinball machine: It's hectic, technically impressive, and your skull starts to pound after a while.
    • 47 Metascore
    • 38 Reviewed by
      Ty Burr
    A torpidly precious love story about death-obsessed adolescents, the film's becalmed and embalmed in its own sensitive self-pity.
  49. The Hollywood version of one of those fawning "60 Minutes" segments about musical prodigies. For most of it, I could hear the congested awe of Morley Safer.
    • 49 Metascore
    • 38 Reviewed by
      Ty Burr
    A peppy, fast-moving, wafer-thin amusement that's fine for kids if you don't mind a lot of Three Stooges-style martial arts. For grown-ups, it's the equivalent of a 59-cent tin globe.
  50. Isn't going to be a contender
  51. It plays better as exasperating comedy than genuine horror -- although there is something terrifying about being stuck in a movie whose idea of a bogeyman is a scarecrow with an eating disorder.
  52. If Bunraku were serious about subverting or reinventing the genres it's cobbled together, Moore would play the gunslinger or the samurai or the crime boss. But no. All she gets are a couple of scenes that demonstrate that she still looks great soaking wet.
  53. The young cast comes through with appealing, naturalistic performances. But Weber’s programmatic, preachy story and emotional manipulation is so blatant that it verges on the fatuous.
  54. Avalanches are nothing compared to the deadening touch of the stereotyping and audience-insulting simplicities in the scenic but brain-dead Vertical Limit.
    • 34 Metascore
    • 38 Reviewed by
      Ty Burr
    Noisy, silly, gratingly upbeat, and piously sentimental, 'Cheaper by the Dozen 2 is what passes for wholesome family entertainment these days. It's the sort of movie to send small children and grandparents out of the theater hugging each other and strong men in search of bourbon.

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