Boston Globe's Scores

For 5,571 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: 63
Highest review score: 100 The Color of Paradise
Lowest review score: 0 Cocktail
Score distribution:
5571 movie reviews
  1. More vulgar than funny.
    • 39 Metascore
    • 50 Reviewed by
      Ty Burr
    There's an interesting movie in here, too, about the isolation of Indian brides brought to a new country by strange new husbands and mistreated, but Provoked rarely ducks below its glossy surface to go there.
  2. The biggest problem with this movie - not that it's mediocre, dull, or barely written (though it's guilty on all counts). It's that Carrey himself is miscast.
  3. Director and Team Besson member Camille Delamarre (“Brick Mansions”) speeds us from one action sequence to the next with a style that alternates between routine, clunky, and modestly inspired.
  4. The real problem with this movie isn't its trashy side - the "Death Wish" stuff is actually suspenseful. It's the creepy note of causal judgment that hangs over it.
    • 38 Metascore
    • 50 Reviewed by
      Ty Burr
    Gigantic plays like a Sundance movie with half the nouns removed; fetchingly cryptic for a while, it's ultimately just obscure.
  5. You don’t have to be Jewish to love borscht belt humor, or gay to love camp, or French to love farce. But when all three are thrown into a blender with a dollop of generic family dysfunction, as is the case in Let My People Go!, oy vey doesn’t begin to address the result.
    • 49 Metascore
    • 50 Reviewed by
      Ty Burr
    A well-intentioned indie that tries to be a "real" version of a Hollywood romantic comedy and ends up feeling more ersatz than ever.
    • 64 Metascore
    • 50 Reviewed by
      Ty Burr
    The movie’s OK, nothing more.
  6. To Chu’s credit, he does work hard not only to legitimize 30-somethings’ halcyon recollections, but also to make the material relevant to a new generation.
  7. The film's biggest problem, however, is its naive inability to understand that sex comedies, to amuse, must be about more than sex.
    • Boston Globe
  8. In the end, though, the film disappointingly, even lazily, shies away from being anything more than you’d expect.
  9. The movie has none of the embarrassing absurdity and cheap effects that made last year's trip back to the 14th century, "Timeline,'' such a joke. We should be so lucky. Instead, we get a listless avenger drama.
  10. The crew doesn’t much look the part either, save for Schaech’s Stalin ’stache. Yet the movie does show the ability to get past this, even with the weight of all its narratively risky conspiracy theorizing. It’s a shame the intrigue has to get torpedoed by elements that mostly feel correctable.
  11. This movie has no teeth. It does not want to say anything, other than the unprintable word for penis, over and over.
  12. The movie is full of risible pontifications about the nature of art but falls well short of capturing the angst of creative frustration.
  13. Nobility with little pacing, imagination, or energy tends not to work too well on the screen. Rahim has the eyes of the young Mandy Patinkin. If only he had some of the wildness.
    • 48 Metascore
    • 50 Reviewed by
      Ty Burr
    It does give believers and those tottering on the edge something to chew on, and it steadfastly refuses to demonize everybody else.
  14. Packaged fluff aimed low, and patronizingly, at Spears's legion of young female fans.
  15. A flimsy sister act.
  16. The score is the most effective thing about the film. Sometimes it's a suspicious, mischie-vous distraction from the reality that not enough of this makes sense.
  17. Despite the Gallic source material, what we truly have in Unfaithful is a tasteful, adult-contemporary ''Fatal Attraction'' redux, right down to the mister's Soho address and the happy family tucked away in the New York hinterlands.
    • 70 Metascore
    • 50 Reviewed by
      Ty Burr
    The movie ends with a sentimental vision of unity that, admittedly, warmed this weary moviegoer's heart. If that vision was earned, I might even have melted.
  18. Once it’s clear the movie won’t be deviating at all from its formula, Frank’s journey gets tedious.
  19. The movie's unlikely sincerity can't completely offset its ugliness for less bloodthirsty viewers, but it helps, and it does smooth over some narrative rough edges.
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    Likably played by Bruhl, the castaway remains more dramatic device than living, breathing character. And without him truly being there, Dench and Smith are just volleying an imaginary ping-pong ball between them. That's not acting -- that's exercise.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    An unusual story and sharp talents have been put through the Disney family-film machinery and come out flattened into formula. It’s an average movie, and that isn’t bad — just average.
  20. The film has a habit of cutting away from interviews for Maher's commentary during the drive to the next location. You can see him trying to work the car for a laugh.
  21. If there were a liberal equivalent to Fox News (no, not MSNBC, which is so much milk-fed veal to Rupert Murdoch's steak tartare), Boogie Man is the sort of programming it would thrive on.
  22. A rather pat, occasionally desperate road comedy.

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