Boston Globe's Scores

For 5,303 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 Adaptation.
Lowest review score: 0 All About Steve
Score distribution:
5,303 movie reviews
  1. 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.
  2. Isn't going to be a contender
  3. 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.
  4. 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.
  5. 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.
  6. Perhaps Employee of the Month, which was typed then directed by Greg Coolidge, is unfolding in the key of satire. But you'd have to be a dog to hear it.
  7. Human trafficking is an awful societal issue, and Trade happens to be an awful movie about human trafficking.
  8. It's a lame and painfully overextended satire of homophobia.
    • Boston Globe
  9. 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.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    The top-secret message this pigeon is carrying reads ''Wait for the DVD."
  10. What the Hughes brothers have come up with is, to borrow another phrase from that bygone age, a penny dreadful.
    • Boston Globe
  11. It’s like Bob Fosse night at the martial-arts studio. Most of the killing here is done with bladed throwing stars that, like the ninjas themselves, arrive from nowhere. They appear to have been used to edit the film as well.
  12. The Bounty Hunter does give Christine Baranski, as an Atlantic City entertainer and Mama Aniston, another opportunity to enthrall us with her drag-queenliness.
  13. Berlinger has approached Book of Shadows: Blair Witch 2 with intelligence and even a bit of thematic heft. But, frankly, the cheap thrill is gone.
    • Boston Globe
    • 24 Metascore
    • 38 Critic Score
    Always the way in horror flicks: These first scenes, when the characters are being tenderly established and the concept is still young, are the best.
  14. Because Spun is so plotless it's almost avant-garde, we're meant to be delighted with its assortment of set pieces.
  15. Drillbit Taylor sounds like a rediscovered blaxploitation movie or a name near the top of the NFL draft.
    • 36 Metascore
    • 38 Critic Score
    When actors are as great as De Niro and Pacino, watching them in a movie like Righteous Kill is deadly.
  16. Dylan and Nikki are an awkward match at best, and their combined story is about as creative/convincing as a Hallmark card.
  17. The best thing in Meet the Spartans is the swift kick in the bombast it delivers to the oh-no-not-us homoeroticism of "300."
  18. It’s unclear what Amy Adams did to deserve Leap Year, but all that’s missing from the movie is a set of jailhouse bars over her scenes.
  19. With a plot devoid of suspense and characters without complexity, Rand's iconic line elicits merely a yawn, or a shrug.
  20. Offers cliches instead of chills.
  21. Creaky, earnest melodrama.
    • 58 Metascore
    • 38 Reviewed by
      Ty Burr
    An attempt to turn the 2005 nonfiction bestseller into a high-energy docu-romp, Freakonomics is a misconceived botch.
  22. The movie is swept up in earnest self-importance.
  23. How funny that Pryce, a tweedy Brit playing a bad guy, should be the one person doing anything remotely heroic for this dud.
  24. Bertrand does his jelly-belly best to keep Starbuck a comedy. But even the broadest shtick can’t prevent a movie that features a Busby Berkeley-style group hug from becoming a male weepie. Or a testimonial to Planned Parenthood.
  25. The screenplay, with its relentlessly schematic characters saying relentlessly schematic things, is so moronic that it makes you long for a documentary on the real Cape League.
  26. Unfortunately, Mann also leans on ill-fitting story elements that he might easily and smartly have avoided, and the movie’s rhythms and credibility pay for it.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    Perhaps because Campbell is a purist at heart, My Name Is Bruce is as awful as anything he has done - a broadly silly gore comedy in which no gag is too cartoonish to be indulged in at least once and preferably three times.
    • 33 Metascore
    • 38 Reviewed by
      Ty Burr
    It's a disappointingly limp small-town farce played several shades too broadly by a cast that has done better work elsewhere.
    • 40 Metascore
    • 38 Critic Score
    When is a comedy not a comedy? When it’s not all that funny.
  27. For better and worse, the movie is more attractive and competently assembled than its schlock peers. That's refreshing, but it hardly excuses the appalling lack of suspense, intermittent tastelessness, or shockingly low camp quotient.
  28. Aside from the clever punning of the title, Spare Parts ends up as jury-rigged and programmatic as Stinky, the robot in the movie. And, unlike Stinky, it is dead in the water.
  29. Almost nothing works in this movie.
    • 37 Metascore
    • 38 Reviewed by
      Ty Burr
    The greater embarrassment is that so many millions of dollars have been wasted on an entertainment that feels so smug, so pointless, and so thunderously empty.
  30. Thunder falls into the common mistake of many children’s films — it underestimates its audience.
  31. In the end, the thing that Cussler's fans will probably object to most is the nonsensical way Sahara manhandles his story.
    • 13 Metascore
    • 38 Reviewed by
      Ty Burr
    Innocuous amusement for 5- to 8-year-olds and other people stuck in the anal stage of development.
    • 37 Metascore
    • 38 Reviewed by
      Ty Burr
    All that's missing is coherence. Call it Blunderbuss Satire.
    • 43 Metascore
    • 38 Reviewed by
      Ty Burr
    So unfocused is Shonda Rhimes's screenplay and so flabby is Marshall's direction.
  32. 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.
    • 35 Metascore
    • 38 Reviewed by
      Ty Burr
    We haven't had a good Frankenstein, Dracula, or Wolf Man movie in a long time, so here's one where the whole gang shows up. One catch: It's not good.
    • 22 Metascore
    • 38 Reviewed by
      Ty Burr
    Silly, obvious, clumsy, and just gruesome enough to keep jaded genre fans from angrily throwing popcorn at the screen.
  33. Oranges and Sunshine is like a Mike Leigh movie drained of all its bodily fluids.
  34. A sodden-looking film.
    • Boston Globe
  35. This story could have gone in a number of more inspiring allegorical directions but winds up your average bedtime story instead.
  36. Ignore the hype. You won't find anything startling or memorable in the derivative Hide and Seek.
    • 34 Metascore
    • 38 Reviewed by
      Ty Burr
    In Undead, sadly, rigor mortis has set in.
  37. The sex bits are flat, the racial innuendo is flatter, and somewhere, Cosby is having a Pudding Pop and shaking his head in disbelief.
  38. Boston University product Gary Fleder (“Kiss the Girls”) directs the action with grungy efficiency, and the movie does hook us with a certain lurid anticipation of just how far things might escalate.
  39. Rarely is a movie audience asked to put up with so much noise for such a thankless payoff.
  40. It is Kevin Pollak who steals what there is of a show as Jamal's passive-aggressive, pressure-cooked agent. His comedic timing, particularly given the thinness of the script, is the only genuinely impressive slam dunk this movie has to offer.
    • 40 Metascore
    • 38 Reviewed by
      Ty Burr
    Indeed a rip-off - a rehash of Hong Kong superstar Chow's greatest celluloid moments with an overlay of Hollywood action cliches, youth-flick silliness, and ah-so stereotypes.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    Factory Girl is not, strictly speaking, a bad movie. It's something worse: an irredeemably banal drama about some of the most protean, contradictory creative forces of the 1960s.
    • 50 Metascore
    • 38 Reviewed by
      Ty Burr
    Such a meticulously wrought piece of hokum that it's both easy to admire and impossible to warm up to.
    • 28 Metascore
    • 38 Reviewed by
      Ty Burr
    There are two problems with A Good Day to Die Hard: It’s terribly filmed and nothing in it makes any sense.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Stupid, sadistic, misogynistic, confusing, and more than a little ridiculous. Here’s the thing, though: It keeps you watching, if only to see how tortured the plot or characters are going to get. I’m not sure that “entertainingly awful” is a recommendation, but the shoe fits.
  41. Writer-director Boaz Yakin delivers his conflicting elements mostly as intended, and with obvious ambition. But he fails to take care of certain fundamentals - most problematically, coaxing out the emotion he's seeking from Statham and young newcomer Catherine Chan.
    • 44 Metascore
    • 38 Reviewed by
      Ty Burr
    It’s clear what MacFarlane is shooting for — nothing less than the chance to be both the Bob Hope and the Mel Brooks of his generation. Be careful what you wish for.
    • 37 Metascore
    • 38 Reviewed by
      Ty Burr
    In Made of Honor, the leads are beautiful and everyone else is a freak. So where does that leave us?
  42. As lifeless and unneeded as The A-Team is, it might have been worse.
  43. No one in the film offers a shred of real proof that IBM cheated.
  44. Unfortunately, though, Rossato-Bennett and Cohen seem to think that the technique is a panacea. In fact, it is not even original, as music therapy in nursing homes has been around for some time.
  45. By now, Rocky of the drooping eyes and damaged brain has turned guru, emphasizing heart, soul and family ties when the evil promoter starts goading him and playing mind games with his protege. Stallone, said to be following Arnold Schwarzenegger into comedy, is starting earlier than anyone realized. [16 Nov 1990, p.78]
    • Boston Globe
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    Its swooping 3-D visuals let fans briefly feel they can touch a group that barely exists behind a wall of beefy security men.
  46. Puzzle is neither puzzling nor much fun. It reminds you how much better Julie Delpy told the same story in “2 Days in New York.”
  47. Sadly unworthy of Douglas.
  48. Blithely inept.
  49. So heavy and lifeless that you keep waiting for those three little front-row kibitzers from "Mystery Science Theatre 3000" to appear at the bottom of the screen to start goofing on it.
    • Boston Globe
  50. The movie might have been more tolerable had Besson searched harder for a performer and not a specimen. Barbara Stanwyck in her prime might have made more sense.
    • 52 Metascore
    • 38 Reviewed by
      Ty Burr
    The Gospel of John is to "The Passion of the Christ" as tap water is to parboiled sacramental wine.
  51. It swoops, it pans, it noses around. The camerawork is almost as agitated as the editing. The directors seem to be trying to compensate for all the speechifying with as much random motion as possible.
    • 44 Metascore
    • 38 Reviewed by
      Ty Burr
    If not better, a Part II always has to be bigger. In the case of The Hangover Part II, that means raunchier, nastier, darker. It also means much more predictable, which is ruinous.
  52. For the most part, Fluffy’s material is just that — fluff, with a touch now and then of bile and bad taste.
  53. The movie's comic powers are often marred by silliness and stereotypes. Pootie tanks.
    • 33 Metascore
    • 38 Reviewed by
      Ty Burr
    Dreadful.
    • 24 Metascore
    • 38 Reviewed by
      Ty Burr
    A chick flick that makes its chick characters - and by extension its chick audience - look like hateful, backward toddlers, and there is something wrong with that.
  54. It's a warmed-over suspense thriller that's more disturbing than it is surprising or scary.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    When Laura Linney turns up about an hour into The Hottest State, you can see the movie that might have been.
    • 42 Metascore
    • 38 Reviewed by
      Ty Burr
    Aliens in the Attic is conveyor-belt family product, an action/adventure/sci-fi/comedy made from the bland corporate DNA of Nickelodeon and the Disney Channel. It appears designed for families who never leave the mall.
  55. It can’t be recommended even to people who mostly just want to see Amanda Seyfried naked.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    As for the movie itself, it's tolerable.
  56. A documentary about comedy needs to be funny. The old guys, as noted, have definitely lost a lot off their collective fastball.
  57. Fienberg’s film spends most of its time trying to convince us that true love starts when you stop playing games. Then, in the final minutes, it reverses itself and puts gamesmanship back up on another wobbly pedestal. The result is hard to cheer.
    • 56 Metascore
    • 38 Critic Score
    It doesn't know if it wants to wallow in its characters' pity or to flesh them out with their own personalities. So it does both, with half-hearted results.
  58. Gabizon never establishes a consistent tone or point of view. Instead, we hop from one episode to the next, with no momentum and no reason to care about these people.
  59. The only recommendable thing about Norbit is that he's not as bad as every other person in this movie.
    • 50 Metascore
    • 38 Reviewed by
      Ty Burr
    The larger problem is that the central duo is just plain dull.
  60. The average Bollywood routine is passionately cheesy. This movie seems cursed with a lactose intolerance.
  61. The next time Grodin attempts a comeback, it would be so great if he avoids movies where he might be upstaged by a sandwich stunt.
    • 13 Metascore
    • 38 Critic Score
    Prinze charming, but can't save movie.
  62. Never having decided whether it wants to be comedy or a sentimental hand-wringer, it tries to be both and winds up being neither.
    • 33 Metascore
    • 38 Reviewed by
      Ty Burr
    Equilibrium just happens to be a really bad comic book.
    • 56 Metascore
    • 38 Reviewed by
      Ty Burr
    Diary of a Wimpy Kid the movie returns Kinney's tale to live-action reality, and the party's over.
    • 38 Metascore
    • 38 Reviewed by
      Ty Burr
    For a movie that's sexist, racist, and possibly the most deeply closeted gay love story to be released this year, After the Sunset is reasonably entertaining.
  63. The problem in The One isn't the black holes in the universe, to which the characters refer at periodic intervals, but the black hole on the screen. The One is a zero.
    • Boston Globe

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