Boston Globe's Scores

For 6,345 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 0.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Beautiful Losers
Lowest review score: 0 The Nutcracker
Score distribution:
6345 movie reviews
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    T2 Trainspotting wears out its welcome slowly, like a group of old men running out of stories to tell in an afternoon pub.
  1. Power Rangers might be the only movie that directly pays homage to “Transformers.” Sadly, it suffers by the comparison.
    • 54 Metascore
    • 50 Reviewed by
      Ty Burr
    Like Life itself, this alien is nasty, brutish, and short.
  2. Raw
    When Ducournau keeps the viewer off balance and doesn’t lose her own, she shows signs of being an outstanding stylist and storyteller, balancing mood, composition, startling images, slow-burning suspense, and sardonic humor.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    Neruda is a dream of Chile, of what it was and might have been, brought to the screen by a master dreamer.
    • 65 Metascore
    • 50 Reviewed by
      Ty Burr
    In short, there’s plenty of spectacle in Beauty and the Beast, which will be enough for many if not most young audiences. But there isn’t much magic, and what there is coasts on 26-year-old fumes.
  3. If “It’s a Wonderful Life” (1946) had mean Mr. Potter standing on the bridge ready to jump, rather than James Stewart’s beaten down hero George Bailey, it still would not have been as namby-pamby as Mark Pellington’s treacly and bromidic The Last Word.
  4. Slowly it emerges that Gaga is Naharin’s “dance language,” a way of expressing one’s inner being through external movement. Gaga is dada — for dancers.
  5. There is no continuity in narrative or character and it’s all shot in an elliptical, heavily stylized, gaudily lit (much of it looks like it’s shot through an algae-filmed aquarium) collage.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    Kong: Skull Island isn’t a remake or a reboot or a re-anything. It’s just a Saturday matinee creature feature with a smart, unpretentious script, a handful of solid supporting players, and a digital Kong who feels big enough and real enough to provoke the necessary awe. This is all to the movie’s credit.
  6. One appreciates the desire of the filmmaker to let the audience fill in the back story, but Rasmussen’s behavior reflects badly on the Danish and heightens sympathy for the POWs.
  7. XX
    The creepiest part of XX, a quartet of short horror films by women, might be the Jan Svankmejer-like stop-action segments between each of them. Sofia Carrillo’s animated antique dolls and little furniture walking on stilt-like legs are the stuff of nightmares.
  8. Kudrow and Robinson are intriguing casting and they get some sharp Bickersons material, but the movie unconvincingly shorthands how they got together. And Revolori’s horndog just feels like the film coasting on his quirky persona from “The Grand Budapest Hotel.”
    • 85 Metascore
    • 88 Reviewed by
      Ty Burr
    It’s well worth seeking out for older kids who don’t mind reading subtitles, their parents, and any adults who can appreciate a good story movingly and creatively told.
  9. It says something about Deutch’s appeal that she does manage to pull the story from the vexing hole it digs itself into. She takes us on an absorbing journey through the various stages of Sam’s time-stalled predicament.
  10. Jackman and Stewart’s fond, easy dynamic helps to balance some very provocative brutality, as the movie pushes Wolverine’s berserk nature to graphic new extremes.
  11. Those who don’t especially like cats — or Istanbul, for that matter — might not get a lot out of Turkish director Ceyda Torun’s love letter to the feline population of her native city. For everyone else, it should be an almost unadulterated pleasure.
  12. The ending is deeply moving.
  13. As the film darkens, it intensifies its focus on tragedy and atrocity and begins to do some justice to one of the largest and least known genocides in history.
  14. It is not only the best horror film since “Under the Skin” (2013), but a subversive and often hilarious commentary on race as well.
  15. Luke Wilson, Eddie Izzard, director Ash Brannon (“Surf’s Up”), and crew combine these ingredients into something that’s uniquely likable, and even unique-looking at times.
  16. It is at least 10 movies in one, some of them ingenious parodies, but all adding up to a cluttered, confused anticlimax.
  17. Unlike “Belle,” however, in this case Asante does not allow her story to be overwhelmed by period decor and costumes.
    • 93 Metascore
    • 88 Reviewed by
      Ty Burr
    It’s the classic modern dynamic of lefty parent and tightly-wound yuppie spawn, but Toni Erdmann takes it out of sitcom territory and into something longer, richer, weirder, and ultimately a great deal more affecting.
  18. The movie works best when it finds a balance between flatly familiar and over-aggressively unexpected.
  19. As often happens in films about putting on plays, life imitates art, but in this instance obliquely.
  20. Even with an improved Dornan, the movie still belongs to Johnson, a character actress capable of making light of a movie pretending to be darker.
  21. The movie is sufficiently in touch with current comic books that it’s keen to explore Batman’s psychology — breezily, but still.
  22. For audiences with an extremely high tolerance for brutally fetishized shootouts and bloodletting, this continuation of Reeves’s potential-filled reluctant hit man saga is electrifying, both visually and in its cracked narrative ambitions.
    • 95 Metascore
    • 100 Reviewed by
      Ty Burr
    Here are great swaths of Baldwin’s prose, read by Samuel L. Jackson in a vocal impersonation that is actually a rather brilliant piece of acting — he convinces you it’s the writer you’re hearing.

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