Boston Globe's Scores

For 6,065 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Stone Reader
Lowest review score: 0 Cocktail
Score distribution:
6065 movie reviews
    • 33 Metascore
    • 50 Critic Score
    Entertaining in a B-movie sort of way, and you can't help admiring its earnestness about the philosophical issues it invokes.
  1. Martin is lots of friendly fun, proving once again that he is an actor with untapped range and style. Without him, the movie would deflate. [20 Dec 1991, p.54]
    • Boston Globe
    • 54 Metascore
    • 50 Reviewed by
      Ty Burr
    Like Life itself, this alien is nasty, brutish, and short.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    A pall of disaster, in fact, hangs over everyone in this shapeless, hankie-wringing adaptation of the best-selling Jodi Picoult novel.
  2. What makes the film such a guilty pleasure is how Williams's righteous self-pity is perfectly matched to Collette's nuttiness and despair.
  3. Only in the epilogue does the film mention that none of the miners was compensated and no one was held responsible.
  4. The film is content to remain at the level of the mildly entertaining, with no real surprises and not much sass. [04 Dec 1992]
    • Boston Globe
    • 64 Metascore
    • 50 Critic Score
    Murder should either be unsparingly real or kitschy like the ''Texas Chainsaw Massacre.'' This is neither.
    • 58 Metascore
    • 50 Reviewed by
      Ty Burr
    An acrid family affair that has been aggressively over-directed by the talented Oren Moverman (“The Messenger”) and brought to intermittent life by a very good cast.
    • 65 Metascore
    • 50 Reviewed by
      Ty Burr
    Watching Prometheus is like opening a deluxe gift box from Tiffany's to find a mug from the dollar store.
  5. Based on her short film, Candler’s Hellion pads its slender, commonplace, but potentially rewarding premise with contrivances, clichés, repetitiousness, and, when all else fails, implausible, arbitrary melodrama.
  6. For all Kendrick's stolidity, he delivers a couple of wrenchingly tender scenes.
  7. Angelo Pizzo knows inspirational sports drama. As the writer of “Hoosiers” and “Rudy,” Pizzo has made a career out of mining the genre and its themes of underdog determination and locker-room brotherhood. But he’s overmatched in his directing debut, the well-intentioned football biopic My All American.
  8. Last Days aspires to the kind of no-frills, psychological terror of Duncan Jones’s brilliant “Moon” (2009) but, despite some determined performances, settles for the clichés of the abortive “Apollo 18” (2011).
    • 49 Metascore
    • 50 Reviewed by
      Ty Burr
    The result is a state-of-the-art multiplex three-ring circus whose special effects stagger the senses and play like a video game, whose human drama aims for the cosmic and lands waist-deep in the Big Silly.
  9. The camera, costumes, and art direction do everything right. Too much so. The movie strips away both the grand weirdness of the circus and the dire desolation of the Depression. Diane Arbus and Dorothea Lange are exchanged for Vanity Fair.
    • 53 Metascore
    • 50 Reviewed by
      Ty Burr
    A Good Woman is pretty to look at and fakes witty elegance passably, so consider it a diversion -- a movie that might have been in the Oscar race if the elements had jelled but has instead been properly hung out to dry in February.
    • 44 Metascore
    • 50 Reviewed by
      Ty Burr
    It's ''Hannah and Her Sisters'' with all the emotions and half the artistry.
  10. The fundamental problem with this Macbeth is that it insists on reducing the mystery of motivation to the pop psychology of a magazine article.
  11. Ramona and Beezus the movie, should not be confused with "Beezus and Ramona'' the book.
  12. Unfortunately for Tatum and Seyfried, Ryan Gosling and Rachel McAdams did a far more convincing version of this same basic dance in “The Notebook.’’
    • 66 Metascore
    • 50 Critic Score
    Much like reality TV, nothing much of consequence happens.
    • 68 Metascore
    • 50 Critic Score
    The movie feels padded. And Hopkins's deft touch as a writer and director leaves him when it comes to casting.
    • 44 Metascore
    • 50 Reviewed by
      Ty Burr
    Hot gospel singing and earnest family squabbles are all that distinguish Joyful Noise.
    • 53 Metascore
    • 50 Reviewed by
      Ty Burr
    I'm still not convinced we needed a new Spider-Man series, but at least this installment is interestingly mediocre instead of actively bad.
  13. Funny thing, though: The sunnier that Barrymore gets in her scenes with Sandler, the more the iffy elements and leaden bits seem to just melt away.
  14. The actors also acquit themselves well singing the film's numerous tunes. Breslin's voice is pleasantly melodic, while Nivola sounds like someone who's been grinding it out on tour for years.
  15. The movie is long and uniquely bad, the last of Stephenie Meyer's four books greedily tortured into two installments.
    • 62 Metascore
    • 50 Reviewed by
      Ty Burr
    Story lines don't come any clammier.
  16. It's too psychically flat and dramatically inert. Instead of reinvigorating a Hollywood classic, Burton only takes it to camp.
    • Boston Globe

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