Boston Globe's Scores

For 5,034 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 To Be and to Have
Lowest review score: 0 Bratz
Score distribution:
5,034 movie reviews
  1. The Crimson Rivers could teach many an American thriller a thing or two about sophisticated creepiness.
  2. Less elliptical and more down-and-dirty than Lang's interesting debut film, ''The Well,'' this one tumbles through Sydney's academic and alternative poetry circles and is built around a lesbian private eye.
  3. Light on its feet and reveling in its deviousness, it stays one step ahead of us .
  4. A seductively corrosive horror story that also potently suggests the ways war can shatter childhood.
    • 46 Metascore
    • 75 Critic Score
    A rather witty, streetwise comedy/action movie with a lot going for it.
  5. Many spy capers lose their intended irony and wry black humor, but The Tailor of Panama stays stylishly on target in ways that would put a heat-seeking missile to shame.
    • 73 Metascore
    • 75 Critic Score
    A triumph of gentility that earns its moments of pathos.
  6. Its attributes and achievements are modest, but its arias, duets, and ensembles are engaging all the same.
  7. The pure joy of music-making is what this gem of a film is all about.
  8. An odd but original, at times even poetic, film about a vanished world.
  9. Invigorating excellence.
  10. Somewhat overstylized and deliberately enigmatic, The Girl won't appeal to everyone. But its ambition and beauty ultimately triumph over pretense.
  11. The film will resonate with today's alienated workers, whose every brain cell and nerve ending hates the soul-crushing jobs they're told they should be grateful to have.
  12. Whaley's self-effacing but strongly etched and wrenchingly effective film.
  13. The triumph of La Cienaga lies in Martel's way of fashioning the kind of ensemble performance that draws us in by convincing us we're watching behavior, not acting.
  14. Watson's character grows in importance until she eclipses the recessive Luzhin.
  15. It turns the nerve-fraying Cuban missile crisis into a big pop myth with the grip of a vise.
  16. The same underdog formulas and sunny disposition that turned it into an unexpected Thai box-office hit should win it friends here, too.
  17. Manages the right balance of fairy tale and joyous self-discovery. And the Venice locations don't hurt.
    • 74 Metascore
    • 75 Critic Score
    A Matter of Taste, French director Bernard Rapp's polished second film, swims in lies, ones that sate at first, but soon intoxicate, seduce, and drown.
  18. A likable satire on celebrity, Flemish-style, it is no less pointed than its American counterparts, just a lot less pompous.
  19. While no individual plot strand is vividly compelling, their interplay makes for a hearty and humanistic mix, carried by the performances.
  20. Gives three first-rate actors a chance to stretch, and they do.
  21. You won't see a more humane and delicately moving riff this year on the theme of getting clean.
  22. In style and story line, the film is daring in its simplicity.
  23. The liveliest, most original family values film of the year so far.
  24. Perhaps not the most uproarious of Veber's farces, but entertaining and emotionally satisfying all the same.
  25. Likable, go-with-the-flow comedy.
  26. The film is almost as shaky as the science, but Nichols knows how to get the most out of what amounts to a one-joke comedy, and Bening works virtual miracles.
  27. It's a snazzy, smartly made, and even hip little scarefest. As a jump-start to Halloween, it's all you could hope for.
  28. The film's most remarkable achievement, in this culture of clamor, simply may be its decision to keep the volume down, drawing us in as opposed to pummeling us, as most films do.
  29. You can't help cheering on Shallow Hal. That and the fact that it's not at all politically correct. It's something better. It's big-hearted, and it's funny.
  30. A clever and satisfyingly abundant entertainment.
  31. Go
    "Pulp Fiction" wannabes don't get much slicker or edgier than Go.
    • 52 Metascore
    • 75 Critic Score
    A heady, sometimes blurry combination of fable, legend, and social-political commentary.
  32. A juicy and gratifying teacher movie (a genre to which I'm partial). The joy in performance shared by Connery and Brown is the big reason.
    • 69 Metascore
    • 75 Reviewed by
      Ty Burr
    It's a soapy, simplistic, but surprisingly affecting ambisexual melodrama that plays a little like Pedro Almodovar without the surreal frills.
  33. MacDowell offers an engaging portrait of a complex woman who has survived life's slings and arrows. It makes Crush an affecting take on modern women.
    • 61 Metascore
    • 75 Critic Score
    The film's vintage setting is as much a character as any other. Some of the best moments evoke the best parts of easygoing small town life in a bygone era.
  34. The kind of movie you can enjoy easily enough, as long as you don't think about it much.
  35. Wonderfully deranged.
    • 73 Metascore
    • 75 Critic Score
    This is a deeper film, delving into the twisted motives that rule lives, the lethal cycles that shackle progress, and, ultimately, the courage it takes to choose life.
    • 47 Metascore
    • 75 Reviewed by
      Ty Burr
    I don't want to sell Like Mike as something it's not. It's a cash-in, all right - just better written, more tightly edited, sharply performed, and a little more heartfelt than most.
    • 67 Metascore
    • 75 Critic Score
    Juxtaposes slice-of-life tales with hints of worldly conflict to delightfully comic effect.
    • 68 Metascore
    • 75 Reviewed by
      Ty Burr
    This wistfully charming slice-of-life comedy celebrates an elderly man defiantly thumbing his nose at old age.
  36. An invitation to see something a little less pretty, and potentially more enduring.
  37. This present-day Paris of Le Divorce is smartly shot and costumed, and the whole affair is breezy and uncharacteristically insouciant, given the reserved nature of the folks responsible for it.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    This is the meatiest role Tautou has had post-''Amelie'' and she drops the zombie-pixie act for once, giving us a character who's caught in a daily dance between propriety and abandon, and who can only dance faster as desperation sets in.
    • 69 Metascore
    • 75 Reviewed by
      Ty Burr
    The Cuckoo is smart enough to steer away from allegory and into the specific every chance it gets, though -- so much so that when the film finally does slip the mortal coil, you still hang with it.
  38. Involvingly acted, surehandedly crafted.
    • 71 Metascore
    • 75 Reviewed by
      Ty Burr
    Green unquestionably has a rare, intermittent knack for rapture.
    • 58 Metascore
    • 75 Reviewed by
      Ty Burr
    Should be seen: It's a worthy ordeal, with flaws that, ironically, make grist for later arguments.
  39. 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.
  40. fully devotes itself to painting a family portrait seldom allowed such rich cinematic detail.
  41. 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.''
  42. Brings the '30s vividly to the screen.
  43. Somewhat sanitized but gorgeous Americana, with another impressive turn by McTeer.
  44. Made of a serene dynamite that's all but unknown to American film audiences.
  45. 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.
  46. 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.
  47. Short without feeling scant. That's how big its sense of grief is.
  48. 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.
  49. 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.
  50. 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.
  51. 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.
  52. Structural shortcomings and all -- gives a neglected giant of African independence his due.
    • 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.
  53. 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.
  54. 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.
  55. No one here is prodding you to laugh. It just happens.
  56. 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.
  57. Deserves a place alongside "Life Is Beautiful" and, yes, even "Schindler's List."
  58. There's something elegiac in Redford's spy who knows he's a dinosaur but still has a few moves left.
    • 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.
  59. Maybe the redemptions offered are simplistic in the context of this place, but they make for a dramatic (if heavily foreshadowed) conclusion.
  60. From beginning to end, it bristles with ironies in classic Eastern European absurdist style.
  61. The magic of their perfectly shaded performances is that you always have to wonder ... Is she really that bad?
  62. Puts the fun back into going to Arnold Schwarzenegger movies. He said he'd be back, and he is.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. In a dismal summer for movies, Osmosis Jones is a fresh breath of foul air.
  68. 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.
  69. 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.
  70. Hedaya is sublime.
  71. 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.
  72. Mindless glitz-o-ramas don't get any snazzier.
  73. Isn't just a feel-good movie; it's a feel-good-and-righteous movie. And audiences will forgive its flaws.
  74. 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.

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