Boston Globe's Scores

For 5,485 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 The Four Times (Le Quattro Volte)
Lowest review score: 0 Cocktail
Score distribution:
5,485 movie reviews
    • 44 Metascore
    • 50 Reviewed by
      Ty Burr
    Where Mia and the Migoo triumphs is in the art department alone, with rich brown charcoal outlines, majestic pastel washes that give depth to the landscapes, and riotous colors that are more vivid than the story line.
  1. The biggest problem with the documentary, besides the overexposure of its namesake, is length.
  2. While Hartley, who made this movie on a shoestring budget, has avant on his mind, he's not nuanced enough to quite pull it off. [03 Aug 1990]
    • Boston Globe
  3. Takes a dedicated and true snapshot of African-American life. But so little of its presentation is memorable. This is a haircut movie that redefines ''fade.''
  4. American Violet feels less like life and unreasonably more like the movies.
  5. A high-impact, high-powered mess that raises the bar for over-the-topness.
    • Boston Globe
  6. Though it features a plucky female protagonist, Annabelle still possesses the same medieval attitude toward women as “The Conjuring,” reducing the gender to the extremes of self-sacrificing mother and malevolent toy.
  7. The characters are intended to be slightly stupid, but the writing isn’t necessarily smarter.
    • 45 Metascore
    • 50 Reviewed by
      Ty Burr
    It would have been nice if someone had included a script, too.
  8. Hartley's loquacity and arguable pretentiousness are stemmed by his sense of play. Even when they run afoul, his movies still have the conviction of their fun. No Such Thing barely has any convictions at all.
  9. Birbiglia, who's from Shrewsbury, has done some wonderful things with awkwardness. I'm sad to report that Sleepwalk With Me isn't one of them.
    • 67 Metascore
    • 50 Critic Score
    The stakes in this story seem too low to justify its audience’s attention. If The Page Turner were a novel, it would hardly be a page turner. Why should we hold films to a lower standard?
    • 39 Metascore
    • 50 Reviewed by
      Ty Burr
    It's off-putting, rude, misshapen, and more often than not hysterically funny. The second half, sadly, is an ear-splitting train wreck.
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    Stitched together from so many other movies that it plays like an attack of multiple déjà vu. Stray bits of “Star Wars,’’ “Pirates of the Caribbean,’’ “Crouching Tiger, Hidden Dragon,’’ and “Robin Hood’’ pass by like flotsam, and the overwhelming tone is good-natured but alarmingly generic.
  10. Conspicuously short on the kind of texture that makes us feel we're watching real people living real lives.
  11. The F&F series is the 21st century's beach movie, one for some beachless future world where the kids are crowning 25 and seem capable of living off of hair gel and exhaust fumes.
  12. Oh my God, evil. What's with you? Ever since "The Exorcist," it's been the same song-and-crab-dance: Demons don't kill, divorce does.
  13. Strauch’s orotund prose sounds much like that of Werner Herzog, but without the irony. Herzog’s sensibility is missed here; he could have made a masterpiece about the absurdity of these deluded seekers of Eden.
  14. More machine than mean, although it's anything but a smoothly running operation.
    • Boston Globe
    • 48 Metascore
    • 50 Critic Score
    Not the knee-slapper it wants to be, but it's endearing nonetheless.
  15. It's taken Dreamgirls 25 years and several false starts to get to the screen, so it's a shame to see what a rush job it feels like.
    • 65 Metascore
    • 50 Reviewed by
      Ty Burr
    It's a doughty movie, stuck halfway between Masterpiece Theatre and Classics Illustrated, but, to his credit, gifted journeyman director Michael Apted understands he's playing the long game.
  16. This is a movie about excess. It's excessively long (at least it feels that way), the slo-mo is used in excess (so are the swords), and our heroine, Yuki (Yumiko Shaku), when she does emote, is excessively weepy for a coldblooded assassin.
  17. The imagery is lush, but the story is pretty cornball, with an ending that can only be called pure Hollywood. Only the marvelous Cate Blanchett transcends stereotype.
    • Boston Globe
  18. There is, however, Viola Davis, who might win an Oscar tomorrow for her one scene in "Doubt." Her part here - a minister combing the street for crack-whores to rescue - is about three times as large.
    • 49 Metascore
    • 50 Reviewed by
      Ty Burr
    If Ten9Eight brings NFTE to the attention of you, your child, or your school administrator, that’s probably all that matters.
  19. A climactic explosion is too obviously a rigged gunpowder charge, and it becomes a metaphor for the film's mistake of diminishing the frantic motion that kept things fizzy and fun.
    • Boston Globe
    • 51 Metascore
    • 50 Critic Score
    Zizek is a revolutionary playing a comedian playing a revolutionary. Which makes him worth watching, even in this movie.
  20. An inconsequential high-school-reunion comedy that gets better when it stops trying to make you laugh.
  21. If most boxing movies are about redemption, Resurrecting the Champ is a boxing movie that goes to exasperating lengths to redeem its boxing writer.

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