Boston Globe's Scores

For 6,162 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Shape of Water
Lowest review score: 0 Porky's
Score distribution:
6162 movie reviews
    • 43 Metascore
    • 50 Reviewed by
      Ty Burr
    Skips lightly along the sewers of human depravity as if the trip alone was worth the telling.
  1. By 2009, the franchise has nothing new to offer. The culture, through video games and reality television, has caught up to the series and surpassed it.
    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    An overly muted and cautious piece of work. Watching it is like seeing a man ease out onto the limb of a tree, constantly testing its strength.
  2. The result is a scattershot comedy that only intermittently nails either tone, finally just bogging down in flatly choreographed mayhem in the late going.
  3. There's a misery in Fassbender that's spellbinding. I rolled my eyes for most of Shame. But never at him. That face tells the story of addiction: the joylessness of sex.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    At its intermittent best, Troy suggests a primitive pro-wrestling smackdown with epochal consequences. At its worst, it's a throwback to the ham-fisted sword-and-sandal international coproductions of the early 1960s: "The 300 Spartans" with better sets. Barely.
    • 53 Metascore
    • 50 Reviewed by
      Ty Burr
    Where Burton and his screenwriter, Linda Woolverton, go astray is turning this new 3-D version - a sequel, really, about a grown Alice returning to the psychic dreamworld of her childhood - into a fantasy adventure that looks like every other CGI epic out there.
  4. Vampire in Brooklyn isn't a disaster. In fact, it has some funny moments. But it's a long way from being the comeback movie Eddie Murphy needs. [27 Oct 1995, p.57]
    • Boston Globe
  5. Being Human isn't totally devoid of the gentle Forsyth magic. But it doesn't have nearly enough of it. Even Williams can do only so much with an assignment that calls for him to mostly stand around looking bummed out - in quintuplicate. [06 May 1994]
    • Boston Globe
  6. The romantic comedy has never had a star as depressing as Jennifer Aniston. It's not the movies - well, it isn't simply the movies.
  7. There is a mild pleasure in the sight of Jude Law pirouetting with a hacksaw through gangs of extras, but the amusement is notional. I actually don’t find him terribly interesting as a kinetic object.
    • 39 Metascore
    • 50 Critic Score
    The real seduction Crudup pulls off is that he makes it seem possible that the character hasn't actually done all of these awful things.
    • Boston Globe
  8. Ultimately undercut by its fictional elements and its flat characters.
  9. New York looks very appealing: uptown, downtown, even the little bit of Brooklyn we see. Think of “Boy” as a Bridges highlight reel and Gotham travelogue, instead of precious coming-of-age story, and it’s not half bad. But it isn’t, so it is.
  10. Unfortunately, director Bill Condon and screenwriter Jeffrey Hatcher are clueless, and come up with an incoherent, implausible, contrived mishmash.
    • 39 Metascore
    • 50 Critic Score
    Alas, it aspires to be an epic drama but suffers from an acute identity crisis: It can't decide if it wants to be history, drama, or a cry for peace in the Mideast.
  11. The initial close-up of Thompson - all sourly snaggletoothed and begoggled - is as funny as anything in the original. And just that one quick glimpse would have been perfect.
    • 45 Metascore
    • 50 Reviewed by
      Ty Burr
    The results are exactly as patchwork as that sounds, with sequences of rowdy, sacrilegious invention punctuated by long spells of tedium.
  12. When the action sequences move into the sky-diving stuff, they give you a real rush.... Otherwise, though, Point Break is all wet. Too bad, because you always get the sense in a Kathryn Bigelow outing ("Near Dark," "Blue Steel") that she's trying to push a genre into new places. [12 July 1991, p.54]
    • Boston Globe
  13. In Dito Montiel’s treacly, programmatic film, Williams succumbs to a recurring neediness, earnestness, and sentimentality.
  14. It's basically a blaxploitation movie stretched to meaninglessly international proportions that leans on tired Colombian stereotypes. But if Saldana's aiming to be some kind of new Pam Grier, she needs to save more than herself.
  15. Is a man with Asperger’s boyfriend material? It’s difficult to determine how we wind up here, but it’s strange that a movie ostensibly about a man and his lack of social options left me depressed about a woman and hers.
  16. Like an ''Afterschool Special'' with costumes by Gianni Versace, Mad Love looks better than it feels.
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    Little kids, of course, will swallow it whole without thinking twice.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Even the portrayal of the Hasidic community comes to feel like window-dressing, welcome for its exoticism but never truly understood.
  17. Fear is a formulaic thriller that is like "Cape Fear" meets "Fatal Attraction," or "Splendor in the Grass" on crack, but without a hint of those movies' psychological complexities and camp moments. [12 Apr 1996]
    • Boston Globe
    • 52 Metascore
    • 50 Reviewed by
      Ty Burr
    You may have to be from Iceland to take dialogue like ''You can't freeze love like a gutted fish'' with a straight face.
    • 54 Metascore
    • 50 Critic Score
    Deathtrap is slick enough that you can't disengage from it without missing something. [19 Mar 1982]
    • Boston Globe
  18. It's a lot like a pumpkin spice frappuccino with extra sugar and extra cream. You'll laugh. You'll cry. You'll leave with foam on your nose. So cute. As a friend said on the way out: At least no books were harmed in the making of this movie. And he's right. But that's only because no one really tried.
    • 60 Metascore
    • 50 Reviewed by
      Ty Burr
    RED
    "The Expendables" trotted out the concept this summer, and it was good dumb fun - a nudge-nudge wink-wink '80s movie on steroids. RED is more self-consciously wacky, more stridently in your face, and more disappointing.

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