Boston Globe's Scores

For 5,978 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 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Gomorrah
Lowest review score: 0 The Devil Inside
Score distribution:
5978 movie reviews
  1. Such an utter piece of fluff so conceptually barren it might as well be a music video.
    • Boston Globe
  2. But this film, with its many cliches and borrowed substitutes for creativity, suggests his (Schroder) career in the boxing arena might have peaked with ''The Champ."
    • 19 Metascore
    • 38 Reviewed by
      Ty Burr
    The Covenant is dopey, formulaic stuff for the Friday night fright crowd. Worse for them, it's never remotely scary.
    • 47 Metascore
    • 38 Critic Score
    Juggles so many stories and characters, nothing ever develops into more than a rough sketch.
    • 68 Metascore
    • 38 Critic Score
    The best audiences can hope for is that they, too, get amnesia and forget they ever saw this movie.
    • 49 Metascore
    • 38 Reviewed by
      Ty Burr
    What it is, distressingly, is a mess - a ragbag of promising ideas and failed narrative, of good acting and plain old bad filmmaking.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Starts off mildly ridiculous, ascends to the full-blown ludicrous, and finally sails boldly off the edge of the absolutely preposterous.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Four Christmases is essentially "Meet the Parents" quadrupled.
  3. An erotic thriller. It is also an Atom Egoyan picture, which means any claims either to actual eroticism or conventional thrills are theoretical at best.
  4. The most dispiriting thing about Anger Management is that its cameos seem like leftovers.
  5. One could argue that ''Lock, Stock'' and Snatch are essentially the same movie - crime comedies marked by an outlandish visual style. Which raises the question of whether Ritchie has the range to do anything else.
    • Boston Globe
    • 52 Metascore
    • 38 Reviewed by
      Ty Burr
    So this is the little movie that caused the big fuss. And little it is, a dopey bro-com that piddles along delivering mild laughs until it turns overly, unamusingly bloody in the climactic scenes.
  6. Blurs the line between black comedy and black hole.
    • Boston Globe
  7. Full of atmosphere and visuals, it's empty of anything that really matters.
    • 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.
  8. Falls flat on two fronts: It's neither deep and interesting enough to be a brainteaser nor sufficiently thrilling to count as a mindless diversion.
  9. Despite its good looks and expertly turned performances, it trivializes Kafka and his work. The simplistic optimism behind it is more terrifying than anything we actually see on screen. Sitting through Kafka is like watching somebody staff a suicide hotline by telling callers to just lighten up. [21 Feb. 1992, p.28]
    • Boston Globe
    • 53 Metascore
    • 38 Reviewed by
      Ty Burr
    The producers of Ella Enchanted probably assume, correctly, that many more kids haven't read the book than have, and they're out to give that audience a slick, shallow good time.
    • 44 Metascore
    • 38 Reviewed by
      Ty Burr
    It achieves something previously thought impossible: It renders Billy Bob Thornton unfunny.
  10. An abundance of style and an almost total lack of substance make Wong Kar-wai's Happy Together a visually arresting but ultimately unrewarding excursion. [31 Oct 1997]
    • Boston Globe
    • 42 Metascore
    • 38 Reviewed by
      Ty Burr
    It's bigger, noisier, shinier, and dumber, and it has no earthly reason to exist.
  11. It plays like a pilot for what I imagine will be network TV's first all-gay sitcom.
  12. A sorry excuse for a ghetto SOS.
    • 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.
  13. The film is so bizarre, contrived, manipulative, and meretricious that anything is possible.
  14. You can't blame John Cusack for jumping at the chance to play Igor.
  15. There's nothing really wrong with it -- it's bad, but no worse than it needs to be, which is the problem.
    • 37 Metascore
    • 38 Critic Score
    You get the impression that the cast and crew of Another Gay Movie could have made a genuinely funny film if they weren't obsessed with out-grossing the already gross "American Pie."
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    The problem is that both Philippa Goslett's script and Paul Morrison's direction lack the stylistic craziness - the sense of real, lunatic danger - a project like this desperately needs.
  16. The images are pretty, and Gene Quintano's screenplay gets everybody from point A to point B, though with no discernible knack for wit or subtlety.
    • Boston Globe

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