Boston Globe's Scores

For 5,190 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 Polisse
Lowest review score: 0 Uncommon Valor
Score distribution:
5,190 movie reviews
  1. Mother's peace crusade ennobles Irish Town.
    • 81 Metascore
    • 75 Critic Score
    The situation is comic and yet quite serious, as are the ways in which language is used.
  2. Gallo has delivered a clever suspense comedy that, thanks to a taut script, creative direction, and first-rate performances from its leads, gives Double Take more weight than one would expect from a genre crowd-pleaser.
    • Boston Globe
    • 59 Metascore
    • 75 Critic Score
    Becomes a creepy yet amusing look at how he tries to take control of the film being made about him.
    • Boston Globe
  3. It's one of the few films that persuades you that it went out to meet the war and bring it to us with verisimilitude.
  4. Intoxicating fun.
  5. I can't imagine anyone not feeling entertained by Happy, Texas.
  6. I'd take a chance on it anyway, even if it stumbles and loses its way.
    • Boston Globe
  7. Branagh and Love's Labour's Lost all but will themselves into liftoff. They achieve it, and in doing so, they somehow make it right to our pleasure centers with their generous embrace of stardust and pizazz.
    • 50 Metascore
    • 75 Critic Score
    There is a palpable edge-of-the-seat tension and a number of complex ethnic issues that linger after the movie ends.
  8. Is a chamber romance, in that there's nothing grand or sweeping about it, but it's got all the style it needs to go with those glorious Tuscan settings.
  9. The performances are disarming and Mumford is the kind of comedy that grows on you if you give it a chance.
  10. A deft, elegant, melancholy tapestry of flawed outreach, and the big reason it succeeds is Podeswa's courage in dispensing with a lot of exposition and trusting the audience - and the faces of the actors - to fill a lot of what otherwise would be gaps.
    • Boston Globe
  11. A little Hitchcock and some good Psycho fun at the beach.
  12. Give it a chance and you'll probably share the cast's collective impulse to dive in and embrace it.
  13. A train worth catching.
  14. Avoids the potentially suffocating pall of uplift hovering over its quite exhilarating story.
  15. Movingly recounts a hitherto untold story in the voices of the people who lived it.
    • Boston Globe
  16. Rat
    Rat may be lightweight, but it's never cheesy.
    • Boston Globe
  17. Starts out as a somewhat weary farce of infidelity, but turns into something a lot more gratifying, namely a comedy of mercy.
    • Boston Globe
  18. What Merchant, Ivory and Co. arrive at is a sort of handsomely illustrated Cliffs Notes version of the novel.
    • Boston Globe
  19. Breathes fresh life into old formulas.
  20. There's an engagingly homegrown quality to much of the footage.
  21. Both a lovingly crafted remembrance of things past and a deliberate broadening and darkening of the canvas Levinson previously filled in "Diner," "Tin Men," and "Avalon."
  22. The sweetly enticing Smiling Fish and Goat on Fire repays the bit of patience it asks.
    • Boston Globe
    • 52 Metascore
    • 75 Critic Score
    A charming and funny look at the independent filmmaking business and the thin line between a masterpiece and a $9 nap.
  23. The Crimson Rivers could teach many an American thriller a thing or two about sophisticated creepiness.
  24. 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.
    • Boston Globe
  25. Light on its feet and reveling in its deviousness, it stays one step ahead of us .
  26. A seductively corrosive horror story that also potently suggests the ways war can shatter childhood.
    • Boston Globe
    • 46 Metascore
    • 75 Critic Score
    A rather witty, streetwise comedy/action movie with a lot going for it.
  27. 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.
    • Boston Globe
    • 73 Metascore
    • 75 Critic Score
    A triumph of gentility that earns its moments of pathos.
    • Boston Globe
  28. Its attributes and achievements are modest, but its arias, duets, and ensembles are engaging all the same.
  29. The pure joy of music-making is what this gem of a film is all about.
    • Boston Globe
  30. An odd but original, at times even poetic, film about a vanished world.
  31. Invigorating excellence.
    • Boston Globe
  32. Somewhat overstylized and deliberately enigmatic, The Girl won't appeal to everyone. But its ambition and beauty ultimately triumph over pretense.
  33. 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.
  34. Whaley's self-effacing but strongly etched and wrenchingly effective film.
  35. 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.
  36. Watson's character grows in importance until she eclipses the recessive Luzhin.
    • Boston Globe
  37. It turns the nerve-fraying Cuban missile crisis into a big pop myth with the grip of a vise.
    • Boston Globe
  38. The same underdog formulas and sunny disposition that turned it into an unexpected Thai box-office hit should win it friends here, too.
    • Boston Globe
  39. Manages the right balance of fairy tale and joyous self-discovery. And the Venice locations don't hurt.
    • Boston Globe
    • 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.
    • Boston Globe
  40. A likable satire on celebrity, Flemish-style, it is no less pointed than its American counterparts, just a lot less pompous.
  41. While no individual plot strand is vividly compelling, their interplay makes for a hearty and humanistic mix, carried by the performances.
  42. Gives three first-rate actors a chance to stretch, and they do.
  43. You won't see a more humane and delicately moving riff this year on the theme of getting clean.
  44. In style and story line, the film is daring in its simplicity.
  45. The liveliest, most original family values film of the year so far.
  46. Perhaps not the most uproarious of Veber's farces, but entertaining and emotionally satisfying all the same.
    • Boston Globe
  47. Likable, go-with-the-flow comedy.
    • Boston Globe
  48. 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.
  49. It's a snazzy, smartly made, and even hip little scarefest. As a jump-start to Halloween, it's all you could hope for.
    • Boston Globe
  50. 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.
    • Boston Globe
  51. 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.
    • Boston Globe
  52. A clever and satisfyingly abundant entertainment.
  53. 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.
    • Boston Globe
  54. 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.
    • Boston Globe
    • 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.
  55. 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.
  56. The kind of movie you can enjoy easily enough, as long as you don't think about it much.
    • Boston Globe
  57. 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.
  58. An invitation to see something a little less pretty, and potentially more enduring.
  59. 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.
  60. 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.
  61. 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
  62. fully devotes itself to painting a family portrait seldom allowed such rich cinematic detail.
  63. 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.''
  64. Brings the '30s vividly to the screen.
  65. Somewhat sanitized but gorgeous Americana, with another impressive turn by McTeer.
    • Boston Globe
  66. Made of a serene dynamite that's all but unknown to American film audiences.
  67. 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.
  68. 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.
  69. Short without feeling scant. That's how big its sense of grief is.
  70. 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.
  71. 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.
  72. 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.
  73. 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.
  74. 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.
  75. 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.

Top Trailers