Boston Globe's Scores

For 5,814 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 0.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Born on the Fourth of July
Lowest review score: 0 Porky's
Score distribution:
5814 movie reviews
    • 40 Metascore
    • 38 Reviewed by
      Ty Burr
    Dazzling to behold yet puny of imagination, the movie takes the “Star Wars” formula — hero myths nicked from Joseph Campbell, cutting-edge visual effects, comic-strip dialogue, goofy-looking aliens — and reduces it to generic Big Box shelf product.
  1. It's hard to believe anyone would think importing a French comedy was a good idea.
    • Boston Globe
    • 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.
    • 46 Metascore
    • 38 Reviewed by
      Ty Burr
    Perhaps the biggest disappointment is that The In-Laws was directed by Andrew Fleming, who delivered the fizzy Nixon-era comedy ''Dick'' a few years back and who also had a hand in ''Grosse Pointe,'' the wicked, briefly-lived WB parody of TV teen dramas. The man obviously knows from satire, but not on the evidence of anything here.
  2. Flirt has its moments, and Ewell and Nikaidoh are auspicious additions to the Hartley rep company. But Flirt will appeal mostly to Hartley completists. [23 Aug 1996]
    • Boston Globe
    • 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.
  3. It’s a Christmas nightmare, stuck with two obnoxious relatives who think they’re funny, and won’t shut up.
    • 43 Metascore
    • 38 Reviewed by
      Ty Burr
    A textbook example of how a director can strip away plot, motivation, character, and meaning and still leave arrant pretension standing tall.
    • 38 Metascore
    • 38 Reviewed by
      Ty Burr
    Works so hard to be inoffensive that you may well be offended.
  4. 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.
  5. A one-trick action thriller that feels like a poor cousin of an episode of ''24." Call it ''12."
  6. The fundamental value put forth in Brown’s “Sunday” sequel is not fearlessness but “family.”
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Almost but not quite as obnoxious as its title. Little kids will love it. You’ll need a hazmat suit.
  7. It seems endless. It's also unusually crude and stupid, even for an Arnold Schwarzenegger movie.
    • 32 Metascore
    • 38 Reviewed by
      Ty Burr
    The bad news, for those looking forward to The Santa Clause 3: The Escape Clause with anything like enthusiasm, is this: Bernard the Elf is history.
    • 47 Metascore
    • 38 Critic Score
    In this bilingual morality movie about love, family, and fate, however, the unpredictability turns out to be highly predictable.
    • 48 Metascore
    • 38 Reviewed by
      Ty Burr
    21
    The movie's chief audience, consequently, will probably be gullible and young, responding to the cliches only because they haven't seen them before. They have a word in Vegas for these people: Suckers.
  8. Dukakis gets off some of the film's best lines and keeps the worst from sinking the whole affair; Polley's role is limited, but her character's audition for a feminine hygiene commercial is by far the best thing here.
    • 35 Metascore
    • 38 Reviewed by
      Ty Burr
    2 1/2 hours of tumescence disguised as a motion picture.
  9. Cox doesn’t so much chew the scenery as inhale it. Dano looks on in awe.
  10. Franco can be exhilarating in movies -- tremulous, unhinged, a little wild. Here his jaw never stops quivering and his eyes stay welled up, advertising a breakdown that never comes. Not that Myles has a presence a man would fall apart over. She's too professional to drive anybody crazy.
  11. Eckhart doesn’t really do any of that classic grunting as Frankenstein 2.0, but maybe he should have.
  12. It's actually a pretty lousy thriller.
  13. The film logs almost all of its laughs when it's at its crudest, meanest, and most unfiltered. Everything else - and that is to say most of the movie - is a big, fat, derivative waste of time.
  14. Occasionally wills itself to rude, crude life. But most of the time it's pretty limp.
  15. Despite a few diverting moments and some ambitiously dramatic themes, this one is simply too uneventful and too populated by thinly sketched characters to keep its target audience engaged.
    • 55 Metascore
    • 38 Reviewed by
      Ty Burr
    Hints at a place where desire, fear, pleasure, and power all intersect, but it never actually goes there.
  16. Finding Home is well meant and earnest but is stretched to almost twice what would have been a comfortable length.
    • 40 Metascore
    • 38 Reviewed by
      Ty Burr
    Butter dearly wants to be a hot-button social satire that plays rough with sacred cows: Midwestern power-moms, the religious right, race, sex, you name it. Mostly, it wants to be an Alexander Payne movie from the 1990s. "Citizen Ruth," say, or "Election." Instead, it's a shrill, cartoonish mess.
  17. The tame, confused script eventually sinks the film, although Field shows skill directing actors.
    • Boston Globe

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