Boston Globe's Scores

For 5,239 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 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Apocalypse Now
Lowest review score: 0 The Skulls
Score distribution:
5,239 movie reviews
  1. With a plot devoid of suspense and characters without complexity, Rand's iconic line elicits merely a yawn, or a shrug.
  2. The movie is swept up in earnest self-importance.
  3. I don't know whether she's (Hudson) drunk, stoned, or simply out of her mind, but if it weren't so sad watching her pick away at this skimpy, overlong romantic lie, she might be entertaining.
  4. In fairness, putting holiness onscreen is an enormous challenge. It can be done, as several directors have shown, most notably Dreyer and Bresson. Bad enough that Joffe is the poor man's Lean. He's also the nonbelieving man's Dreyer and Bresson.
    • 44 Metascore
    • 38 Reviewed by
      Ty Burr
    If not better, a Part II always has to be bigger. In the case of The Hangover Part II, that means raunchier, nastier, darker. It also means much more predictable, which is ruinous.
    • 55 Metascore
    • 38 Reviewed by
      Ty Burr
    Hopefully the last, of the fake trailer spinoffs of 2007's "Grindhouse." It makes last year's "Machete" look like "The King's Speech."
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    If the director had brought any toughness of perspective - or at least the self-lacerating humor of 2002's "Igby Goes Down,'' still the reigning champ of screwed-up-Manhattan-prepster films - we might be able to digest George's follies without cringing.
  5. There's just very little in Beautiful Boy that feels fresh or new or truly raw. The houses, that title, every emotion, even the false moves: They're all generic.
  6. The first step in getting beyond preaching to the converted is letting the other side show how wrong it might be.
    • 57 Metascore
    • 38 Reviewed by
      Ty Burr
    I say kill off everybody else and bring back Farrell for the sequel.
  7. As for other voices, the most notable are Adam Sandler, whose capuchin monkey wears out his welcome pretty quickly; Maya Rudolph, whose jivey giraffe comes perilously close to aural blackface; and Nick Nolte's gorilla.
    • 42 Metascore
    • 38 Reviewed by
      Ty Burr
    As history it's bunk; as inappropriate historical fiction, it's awfully close to comedy.
    • 48 Metascore
    • 38 Reviewed by
      Ty Burr
    It's a working illustration of what differentiates movie stars from TV stars. When we buy a ticket for a George Clooney movie, it's because we want to see George Clooney (or Emma Stone or Tom Hanks or whomever). The real stars of "Glee," on the other hand, are the characters, not the actors.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    As for the movie itself, it's tolerable.
  8. Alba, meanwhile, is again ridiculously shoehorned into a comedy gig, although she does have an amusing opening bit spying while nine months pregnant. If only diaper bomb gags weren't the inevitable follow-up.
  9. It's all emotionally counterfeit, and that bogusness infects the comedy.
    • 56 Metascore
    • 38 Reviewed by
      Ty Burr
    While there are moments of eldritch atmosphere and a few pro forma jolts, nothing here justifies our attention, let alone the film's inexplicable R rating.
    • 24 Metascore
    • 38 Critic Score
    Contains nothing original or over-the-top enough to make it a real scream fest. For most horror fans it will be kind of a snooze.
    • 38 Metascore
    • 38 Critic Score
    Occasionally veers so far into absurdity that it manages to make its central character - capable, smart, working mom Kate Reddy - look like a nitwit.
  10. The one-sidedness of Farmageddon isn't just an artistic failing. It's an argumentative failing, too.
    • 47 Metascore
    • 38 Reviewed by
      Ty Burr
    A torpidly precious love story about death-obsessed adolescents, the film's becalmed and embalmed in its own sensitive self-pity.
  11. If Bunraku were serious about subverting or reinventing the genres it's cobbled together, Moore would play the gunslinger or the samurai or the crime boss. But no. All she gets are a couple of scenes that demonstrate that she still looks great soaking wet.
  12. It swoops, it pans, it noses around. The camerawork is almost as agitated as the editing. The directors seem to be trying to compensate for all the speechifying with as much random motion as possible.
    • 57 Metascore
    • 38 Reviewed by
      Ty Burr
    I could pile on the cooking metaphors until you cried "uncle," but the fact remains that there's a very good movie in here that its makers have failed to bring off.
  13. After a fast, funny start, the new sequel, Johnny English Reborn, proves to be more of the same.
  14. Oranges and Sunshine is like a Mike Leigh movie drained of all its bodily fluids.
    • 46 Metascore
    • 38 Reviewed by
      Ty Burr
    If anything, Burke & Hare is a slaphappy mess that recalls Landis's earliest work on 1970s midnight movies like "Schlock'' and "The Kentucky Fried Movie.''
  15. It's doom that we're meant to feel here. And repulsion. I hate to say, but I shrugged.
  16. You could cast this movie with potato chips and still get cheers when one of the bad guys is cuffed. It doesn't matter that none of it is to be believed.
  17. For too long, this movie asks us to be interested in something that rarely in the history of the service industry has been sustainably entertaining: how dull certain jobs can be.

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