Boston Globe's Scores

For 5,974 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 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Pianist
Lowest review score: 0 The Black Waters of Echo's Pond
Score distribution:
5974 movie reviews
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    The main, if not only, reason to see The Machinist is for Christian Bale's title performance, and even then you have to be a fan of hardcore martyrdom in the service of craft.
  1. Perry is a playwright, and his dialogue here is usually entertaining.
  2. The Sentinel isn't an entire season of ''24" smushed into a bland two hours of movie? Does Kiefer Sutherland know?
    • 70 Metascore
    • 50 Reviewed by
      Ty Burr
    The parts, in other words, promise a brilliant whole. So why is this movie one of the signal disappointments of the year? You have to go back to the basics: Public Enemies has everything going for it except a reason and a script.
  3. The movie moves predictably to its formulaic finale, which -- unwittingly perhaps -- reprises Plummer's own sugary classic, ''The Sound of Music.''
    • 59 Metascore
    • 50 Reviewed by
      Ty Burr
    Carell's performance is enjoyable but safe, and while he and Knightley play well enough together, there's no genuine chemistry - no zap to convince us these two deserve to be the last lovers on Earth.
  4. A so-so documentary about another fascinating, underreported piece of Harlem history.
    • 48 Metascore
    • 50 Reviewed by
      Ty Burr
    Scoop is distinctly minor Allen, with less weight to it than one of his old humor doodles in The New Yorker.
  5. This is a movie whose cynicism in the name of idealism might have appealed to Billy Wilder.
  6. Written in wisps and watery double-entendres by Heather McGowan and Niels Mueller, and the movie is so benign that its proceedings are beside the point.
  7. The frustration, though, is how much the movie leans on made-ya-jump scares and contrived plot devices when its quieter chills and already fraught setups are so potent.
    • 69 Metascore
    • 50 Reviewed by
      Ty Burr
    Fair Game takes one of the more shameful sub-chapters in modern US politics - and turns it into a strident, condescending Hollywood melodrama.
    • 58 Metascore
    • 50 Reviewed by
      Ty Burr
    With The Invention of Lying, the British comic actor Ricky Gervais has come up with a wickedly funny idea for a movie - and then purged the wickedness right out of it.
  8. The Silence is a victim of over-plotting, clunky narrative, gratuitous stylization, and too many points of view. When any character quirk or story turn shows promise, depend on some ill-considered directorial decision to put a stop to it.
  9. Lopez smiles, whines, and blinks her way through this movie. She seems more relaxed than she ever has. And yet it seems like she’s hiding in romantic comedies, lest we discover that she doesn’t have a “Monster’s Ball’’ or even a “Blind Side’’ in her.
  10. Are we really looking to Evil Dead for gnarly possessions played straight? That’s what Alvarez gives us for an overlong stretch, until his reinterpretation of the malevolent-hand gag kicks off a last act that’s more freewheelingly, twistedly grisly. (Don’t skip the credits, because the fan-energizing momentum peaks at the very end.)
  11. A sometimes clever but ultimately clichéd comedy.
    • 50 Metascore
    • 50 Reviewed by
      Ty Burr
    At the end, under the closing credits, Freeheld shows us photos of the real Hester and Andree, and we sense an immediacy the rest of the film lacks. These are the people we want to watch and not a movie simulacra, no matter how capably performed and earnestly felt.
  12. Slickly directed by Joel Schumacher, who sees that each and every button in this unabashedly manipulative film is pushed hard, Falling Down could have been deeply disturbing if it weren't so cartoony, so determined to glibly escape the moral consequences of the vicarious white-rampage fantasies to which it caters. [26 Feb 1993, p.25]
    • Boston Globe
  13. Veronica Guerin hardly trusts you to follow its story, opening with the murder, then a series of titles that explain what's to follow.
  14. Highly unoriginal tale.
  15. The Treatment fails to do anything interesting with Jake.
  16. As films about the young and the horny go, I preferred the smarter approach director Jeffrey Blitz takes in "Rocket Science."
  17. A defective poker comedy where the poker is a lot more interesting than the people playing it.
    • 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.
  18. The Forger wants to be many things: gritty crime thriller, heist picture, domestic drama. Family bonds get “forged,” too, right? Director Philip Martin, who’s mainly done British TV work, is best known for “Prime Suspect 7.” Martin keeps things moving a little too briskly, perhaps. Scenes generally feel underdeveloped, and transitions abrupt.
  19. A bland, insistently amiable comedy that doubles as road movie.
  20. It's hard to care about people this generic - even when they're naked.
    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    Breezily enjoyable for about 10 minutes, until you realize the entire movie is going to be pitched at the same exuberantly manic pace. It's like being trapped in an elevator with a performing poodle that doesn't know when to quit.
    • 52 Metascore
    • 50 Critic Score
    Doesn't seem to know whether it wants to be a sprightly sex comedy or an enigmatic little thriller. Unfortunately, it's neither very funny nor very thrilling.

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