Boston Globe's Scores

For 5,160 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 Bamako
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
5,160 movie reviews
    • 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.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Four Christmases is essentially "Meet the Parents" quadrupled.
    • 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.
    • 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.
    • 51 Metascore
    • 38 Critic Score
    Lussier stages his movie not so much around nail-biting moments as novel ways to fling entrails at his viewers. But if you take pleasure in such mindless gore, there must be worse ways to spend 100 minutes.
  1. At the very least, a movie like this requires coherence to stay afloat. Barring that, it needs a star to distract us.
  2. Fired Up feels like everybody's first time doing anything - writing, acting, directing, cheerleading.
  3. This is not a movie. It's a coming attraction for a theme park.
    • 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.
    • 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.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Starts off mildly ridiculous, ascends to the full-blown ludicrous, and finally sails boldly off the edge of the absolutely preposterous.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    A "great poet" movie, the poet in this case being Dylan Thomas, and it's utter bollocks.
  4. As one of the WWE's marquee pro wrestlers, John Cena is some actor. As a straight actor . . . he's a great wrestler.
    • 40 Metascore
    • 38 Critic Score
    In short, the financial crisis and social upheaval of 1930s France never looked so appealing.
  5. Like so many of these farm-raised films, this one looks polished, but takes no risks, offers no surprises, and contains a final sequence that's laughable for its lack of courage.
  6. Almost nothing works in this movie.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Imagine some very smart people setting out to make a very naughty action film and shooting themselves in the foot. Voila: Crank: High Voltage.
    • 54 Metascore
    • 38 Critic Score
    Please, moviegoers, time is running out for us. Our civilization (and bottom line) depend on fast-food kiddie meals stuffed with toys. In this way, we conquer the solar system.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Jarmusch has come up with a dud.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    The problem is that both Philippa Goslett's script and Paul Morrison's direction lack the stylistic craziness - the sense of real, lunatic danger - a project like this desperately needs.
  7. None of these characters provides more than a smattering of laughs, but Def is the one guy we might like to see more of, if only because his role is small and better executed than it deserves.
    • 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.
    • 42 Metascore
    • 38 Reviewed by
      Ty Burr
    It's bigger, noisier, shinier, and dumber, and it has no earthly reason to exist.
  8. For long stretches of the PlayStation-minded Gamer, the action does drag.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    The general consensus on this one: Rats.
    • 53 Metascore
    • 38 Reviewed by
      Ty Burr
    Be warned, though: This is the multiplex equivalent of ADD.
    • 32 Metascore
    • 38 Reviewed by
      Ty Burr
    Genially terrible, Lost is lazy, sloppy multiplex filler, good for a few solid giggles and not much more.
    • 35 Metascore
    • 38 Reviewed by
      Ty Burr
    2 1/2 hours of tumescence disguised as a motion picture.
  9. Neither (Bullock/Reynolds) brings out anything good in the other, and watching them try hurts the eyes, the tummy, and the libido.
  10. The finale of this tedious piece of Asian-ish action-schlock based on a popular anime series implies an intention to make more. One was plenty for me.
    • 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.
    • 47 Metascore
    • 38 Reviewed by
      Ty Burr
    Jennifer’s Body falls into the dispiriting category of dumb movies made by smart people, in this case a glibly clever writer and a talented director who think a few wisecracks are enough to subvert the teen horror genre.
  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.
    • 28 Metascore
    • 38 Reviewed by
      Ty Burr
    A comedy that can’t even admit to its own overwhelming sense of disgust.
  12. 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.
    • 26 Metascore
    • 38 Reviewed by
      Ty Burr
    Slightly better than it should be. For Tucker Max, this possibly represents a triumph.
  13. It’s a fascinating story: part genetic mystery, part socio-racial tragedy. However, Laing’s life, despite its inherent melodrama, does not automatically lend itself to the screen.
    • 27 Metascore
    • 38 Reviewed by
      Ty Burr
    The film’s so formulaic your 6-year-old will be ticking off the plot points as they lope by.
  14. Talking heads are overused in documentaries, but in this case a dose of perspective, a point of view or two, would have a gone a long way toward turning a pageant of unreliable voices and morbid images into a portrait of the artists and their deadly scene as something more than misunderstood.
  15. The Strip makes you appreciate what hard work effortless comedy is.
    • 40 Metascore
    • 38 Critic Score
    When is a comedy not a comedy? When it’s not all that funny.
    • 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.
  16. 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.
  17. This is many lousy movies for the price of one.
  18. It’s network television drama, starring actors best known for their TV work and full of the petty gripes and mild worries of characters who really have nothing compelling to worry about.
  19. The Bounty Hunter does give Christine Baranski, as an Atlantic City entertainer and Mama Aniston, another opportunity to enthrall us with her drag-queenliness.
    • 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.
  20. It can’t be recommended even to people who mostly just want to see Amanda Seyfried naked.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    The results are -- there’s no other word for it -- a disaster.
  21. The secret here is that the movie is rather tasteless. It has the high, slightly nauseating stink of perfume on garbage.
  22. Cox doesn’t so much chew the scenery as inhale it. Dano looks on in awe.
    • 27 Metascore
    • 38 Reviewed by
      Ty Burr
    A dunderheaded comic melodrama with clothes to die for and dialogue to shrink from. It’s downright depressing.
    • 50 Metascore
    • 38 Reviewed by
      Ty Burr
    The larger problem is that the central duo is just plain dull.
  23. As lifeless and unneeded as The A-Team is, it might have been worse.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    It can’t be easy to turn the story of Hawaii’s last royal into a waxworks parade, but writer-director Marc Forby has pulled it off.
  24. There is much to learn from Picasso and Braque Go to the Movies. First, a wealth of sharp professorial minds and great artistic eyes is no guarantee of equivalent documentary moviemaking. Second, when making a sort of thesis statement, it helps to have a thesis.
  25. It has no pulse, no apparent breath.
  26. Rarely have clips from so many good and great movies been put to such dull use.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    Watching this movie in 3-D is very much like sticking one's head in a blender and hitting "pulse."
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    Takers might have made a perfectly decent little B heist movie, but someone had to go and forget to give the cameraman his Ritalin.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    You'll come away from Legendary with no sense of what amateur wrestling is about.
  27. Alpha and Omega is sweet, if not fresh.
    • 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.
    • 25 Metascore
    • 38 Critic Score
    Introduce the supernatural, and anything goes. Here, everything does. And that's a problem no one can solve. At least it wasn't called "Case 666."
    • 27 Metascore
    • 38 Reviewed by
      Ty Burr
    Is there a statute of limitations for how many good actors can be wasted in a bad movie?
    • 38 Metascore
    • 38 Reviewed by
      Ty Burr
    The movie's primary pleasure is Hopkins, who manages to take the role of Father Lucas seriously without being serious about it at all.
  28. Seeing her (Kidman) in junk like this is a bit like watching the Queen of England eat a Taco Bell chalupa.
    • 29 Metascore
    • 38 Reviewed by
      Ty Burr
    A laughably inept series of adolescent poses trying to pass itself off as a movie.
  29. Never achieves the exhilarating feat of exemplifying the types of Hollywood movies it wants to unpack.
    • 51 Metascore
    • 38 Reviewed by
      Ty Burr
    All the good intentions in the world can't save White Irish Drinkers from playing like the baldest of retreads.
    • 52 Metascore
    • 38 Critic Score
    The crazy train of Insidious runs fully off the rails when the filmmakers go logical and some of the strange gets explained away as a double shot of demonic possession and astral projection.
  30. With a plot devoid of suspense and characters without complexity, Rand's iconic line elicits merely a yawn, or a shrug.
  31. The movie is swept up in earnest self-importance.
  32. I don't know whether she's (Hudson) drunk, stoned, or simply out of her mind, but if it weren't so sad watching her pick away at this skimpy, overlong romantic lie, she might be entertaining.
  33. In fairness, putting holiness onscreen is an enormous challenge. It can be done, as several directors have shown, most notably Dreyer and Bresson. Bad enough that Joffe is the poor man's Lean. He's also the nonbelieving man's Dreyer and Bresson.
    • 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.
    • 55 Metascore
    • 38 Reviewed by
      Ty Burr
    Hopefully the last, of the fake trailer spinoffs of 2007's "Grindhouse." It makes last year's "Machete" look like "The King's Speech."
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    If the director had brought any toughness of perspective - or at least the self-lacerating humor of 2002's "Igby Goes Down,'' still the reigning champ of screwed-up-Manhattan-prepster films - we might be able to digest George's follies without cringing.
  34. There's just very little in Beautiful Boy that feels fresh or new or truly raw. The houses, that title, every emotion, even the false moves: They're all generic.
  35. The first step in getting beyond preaching to the converted is letting the other side show how wrong it might be.
    • 57 Metascore
    • 38 Reviewed by
      Ty Burr
    I say kill off everybody else and bring back Farrell for the sequel.
  36. As for other voices, the most notable are Adam Sandler, whose capuchin monkey wears out his welcome pretty quickly; Maya Rudolph, whose jivey giraffe comes perilously close to aural blackface; and Nick Nolte's gorilla.
    • 42 Metascore
    • 38 Reviewed by
      Ty Burr
    As history it's bunk; as inappropriate historical fiction, it's awfully close to comedy.
    • 48 Metascore
    • 38 Reviewed by
      Ty Burr
    It's a working illustration of what differentiates movie stars from TV stars. When we buy a ticket for a George Clooney movie, it's because we want to see George Clooney (or Emma Stone or Tom Hanks or whomever). The real stars of "Glee," on the other hand, are the characters, not the actors.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    As for the movie itself, it's tolerable.
  37. Alba, meanwhile, is again ridiculously shoehorned into a comedy gig, although she does have an amusing opening bit spying while nine months pregnant. If only diaper bomb gags weren't the inevitable follow-up.
  38. It's all emotionally counterfeit, and that bogusness infects the comedy.
    • 56 Metascore
    • 38 Reviewed by
      Ty Burr
    While there are moments of eldritch atmosphere and a few pro forma jolts, nothing here justifies our attention, let alone the film's inexplicable R rating.
    • 24 Metascore
    • 38 Critic Score
    Contains nothing original or over-the-top enough to make it a real scream fest. For most horror fans it will be kind of a snooze.
    • 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.
  39. The one-sidedness of Farmageddon isn't just an artistic failing. It's an argumentative failing, too.
    • 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.
  40. 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.
  41. 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.
    • 57 Metascore
    • 38 Reviewed by
      Ty Burr
    I could pile on the cooking metaphors until you cried "uncle," but the fact remains that there's a very good movie in here that its makers have failed to bring off.
  42. After a fast, funny start, the new sequel, Johnny English Reborn, proves to be more of the same.
  43. Oranges and Sunshine is like a Mike Leigh movie drained of all its bodily fluids.
    • 46 Metascore
    • 38 Reviewed by
      Ty Burr
    If anything, Burke & Hare is a slaphappy mess that recalls Landis's earliest work on 1970s midnight movies like "Schlock'' and "The Kentucky Fried Movie.''
  44. It's doom that we're meant to feel here. And repulsion. I hate to say, but I shrugged.
  45. You could cast this movie with potato chips and still get cheers when one of the bad guys is cuffed. It doesn't matter that none of it is to be believed.

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