Boston Globe's Scores

For 5,124 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 Winter's Bone
Lowest review score: 0 The Devil Inside
Score distribution:
5,124 movie reviews
  1. How funny that Pryce, a tweedy Brit playing a bad guy, should be the one person doing anything remotely heroic for this dud.
  2. Bertrand does his jelly-belly best to keep Starbuck a comedy. But even the broadest shtick can’t prevent a movie that features a Busby Berkeley-style group hug from becoming a male weepie. Or a testimonial to Planned Parenthood.
  3. "Star Trek VI" is one of the weaker additions to the Enterprise enterprise. It merely goes through the motions, including requisite moments that feel obligatory and uninspired. There's nothing gravely wrong here - no embarrassing scenes or egregious plot gaffes. There's simply nothing new, and certainly nothing fresh or reinvented. [6 Dec. 1991, p.53]
    • 30 Metascore
    • 38 Reviewed by
      Ty Burr
    This third go-round for the "Wolf Pack" doesn't bother to Xerox the original 2009 hit comedy, as 2011's witless "Hangover 2" did. Instead, the new movie heads in different, if utterly formulaic, directions. So it's not terrible. It's just bad.
  4. Hook touches neither fantasy nor soulfulness nor yearning. Mostly, it's benign spectacle in which the actors keep yielding the camera to some expensive playground or other. Hook is neither wistful nor primal. It's film's most expensive wind-up toy. [11 Dec. 1991. p.53]
  5. The problem with high concepts like this is cooking up a story and characters to go along with it.
    • 37 Metascore
    • 38 Reviewed by
      Ty Burr
    The greater embarrassment is that so many millions of dollars have been wasted on an entertainment that feels so smug, so pointless, and so thunderously empty.
  6. Grown Ups 2 offers a bittersweet paean to childhood and youth and their inevitable loss. Take the case of Adam Sandler. Didn’t he use to be funny?
  7. There is less eye candy than you would expect, and it’s underwhelming.
    • 37 Metascore
    • 38 Reviewed by
      Ty Burr
    One doesn’t really want to beat up on Girl Most Likely, because it means well and everyone in it appears to be having a good time. But so many things are wrong with the film, from a script that’s bright but never sharp to the editing that leaves scenes hanging flaccidly in the breeze.
    • 49 Metascore
    • 38 Critic Score
    The problem is that the movie offers no way of differentiating between them beyond their hairstyles.
    • 34 Metascore
    • 38 Reviewed by
      Ty Burr
    Writer-director Liz W. Garcia depicts Leigh’s quandary with a heavy hand that gets heavier as the movie goes on, ending with one of those portentous freeze-frames that worked in “The 400 Blows” and never since.
  8. A documentary about comedy needs to be funny. The old guys, as noted, have definitely lost a lot off their collective fastball.
  9. “You don’t need a man to define you!” Very true, and so much for feminism. The rest of the film takes a long, convoluted, predictable, and mostly unfunny route to prove that the opposite is the case.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    When it’s time for the hot sex scene between Timberlake’s ambitious Richie Furst and Rebecca (Gemma Arterton), his boss’s luscious second-in-command, the encounter is as charmless and chemistry-free as the wooden banter that has led up to it. I’ve had dentist’s appointments that were sexier.
    • 53 Metascore
    • 38 Reviewed by
      Ty Burr
    The new Carrie is a thoroughly dispiriting remake — “retread” is the appropriate word — that could have been directed by any proficient Hollywood hack.
  10. This movie doesn’t make the case. In fact, had they upped the absurdity a notch, it would rival the comedy of Christopher Guest’s let’s-put-on-a-show mockumentary, “Waiting for Guffman” (1996). As it stands, it plays like an infomercial.
    • 35 Metascore
    • 38 Reviewed by
      Ty Burr
    Hirschbiegel and Watts don’t have the nerve for camp. Even a scene of a rejected Diana back at Kensington, forlornly playing Bach at her piano while mascara streams down her face, is played gloomily straight.
  11. Boston University product Gary Fleder (“Kiss the Girls”) directs the action with grungy efficiency, and the movie does hook us with a certain lurid anticipation of just how far things might escalate.
  12. It’s a Christmas nightmare, stuck with two obnoxious relatives who think they’re funny, and won’t shut up.
  13. However well-intentioned the movie may be, it spills over with flat cutesy humor, making a slog out of an experience that should be filled with wonder.
  14. What I found more disturbing was the casual misogyny of the convoluted story line.
  15. The plot doesn’t take clever turns, the visual thrills aren’t all that thrilling, and you’re ultimately left to get your heist-movie kicks elsewhere.
  16. Eckhart doesn’t really do any of that classic grunting as Frankenstein 2.0, but maybe he should have.
    • 52 Metascore
    • 38 Reviewed by
      Ty Burr
    The movie’s a somber affair, but if you see it in the right frame of mind, it’s the guilty-pleasure hoot of the season.
    • 62 Metascore
    • 38 Reviewed by
      Ty Burr
    Despite a frisky soundtrack that starts off with James Brown’s “Sex Machine” — trust me, it’s downhill from there — this is the visual equivalent of Muzak. You don’t have to see it to have seen it.
  17. Though Zefferelli’s version was trashy and downright nuts, at least it made you feel the love. This pallid replay just seems endless.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    All that’s missing is Clyde the orangutan from Clint Eastwood’s “Every Which Way But Loose,” which, trust me, this movie could have used.
  18. One hopes that, for their own good, when any of these actors are offered a script like this again, they’ll have the sense to just say no.
    • 42 Metascore
    • 38 Reviewed by
      Ty Burr
    Stupid, sadistic, misogynistic, confusing, and more than a little ridiculous. Here’s the thing, though: It keeps you watching, if only to see how tortured the plot or characters are going to get. I’m not sure that “entertainingly awful” is a recommendation, but the shoe fits.

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