Boston Globe's Scores

For 6,073 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 The Endurance
Lowest review score: 0 The Devil Inside
Score distribution:
6073 movie reviews
    • 30 Metascore
    • 50 Reviewed by
      Ty Burr
    Stands to delight small children while probably causing their parents' heads to cave in.
  1. The thematic stuff, while well-intentioned, is also clunky, and ultimately beside the point. Action, obviously, is what you’re after.
  2. Keep your big-budget horror movie expectations locked away in a separate crawl space, because this grainy feature debut from writer-director Ti West demands that you buy into the silliness, and the cheese.
    • 54 Metascore
    • 50 Reviewed by
      Ty Burr
    Here the foundation has been miscast. That's M-I-S-C-A-S-T.
  3. The moviemaking is proficient, if unremarkable. I like the idea of an Elizabethan action movie apparently more than I enjoy watching one.
  4. There are many things that Better Than Sex is better than, although sex is not among them. It is better than a root canal, an IRS audit, or a rained-out ballgame.
    • 48 Metascore
    • 50 Reviewed by
      Ty Burr
    It's an enjoyably demented meta-finale, the rivals showing what they could do if they ever bothered to actually do it.
    • 58 Metascore
    • 50 Reviewed by
      Ty Burr
    iIf you can ignore a ridiculously overbearing soundtrack - a big if - the film's a pleasant bauble. Still, those coming in cold may be forgiven for thinking they've wandered into "Atonement" remade as a farce.
    • 32 Metascore
    • 50 Reviewed by
      Ty Burr
    The film eventually collapses under the weight of its no-budget arrogance, but it goes some interesting places beforehand.
    • 42 Metascore
    • 50 Reviewed by
      Ty Burr
    A muscular Australian B-movie down to the thin characters and boilerplate dialogue.
  5. Does not sink to the bathos of Roberto Benigni’s Oscar-winning film (“Life Is Beautiful”), but it does reduce a period of irredeemable horror to the heroics of a single person.
  6. The strength of Jacob's Ladder is that we never know what the next scene will be. But that's also its weakness. We don't feel involved with the characters here. We just feel jerked around. Jacob's Ladder, finally, is bummer theater. [2 Nov 1990, p.73]
    • Boston Globe
  7. In the end, it's hard to see a real reason for the movie's existence. We already have Muppets.
  8. It’s fun in stretches, but also busily forced.
  9. The message is clear almost immediately: charity not vanity.
    • 33 Metascore
    • 50 Reviewed by
      Ty Burr
    One of those sticky dramas.
  10. A righteous but wrongheaded thriller, chokes on its well-meant outrage and leaves a moth-eaten plot and handful of nonsense characters on its way to a dopey finish.
    • 60 Metascore
    • 50 Critic Score
    Not without its charms. But it never rises to its clever what-if concept.
    • Boston Globe
  11. Unlike other films that successfully explore abstractions, such as Wong Kar Wai’s “In the Mood for Love” or the memoiristic collages of Terence Davies, it doesn’t seem to have much going on beneath the drab surface.
  12. Achingly slow, at times bleak and, in the end, frustratingly and regrettably, rather pointless.
  13. Belle has the pace and sumptuous cinematography of a Merchant and Ivory production, but none of their memorable characters, subtle performances, or literate dialogue.
    • 80 Metascore
    • 50 Reviewed by
      Ty Burr
    A textbook case of filmmakers who can't make up their minds about their characters; it's a failure of nerve disguised as dramatic ambiguity.
  14. In James Marsh's The King, the usually wonderful Gael Garcia Bernal is all wrong for the role of Elvis Valderez.
  15. The movie works best when it finds a balance between flatly familiar and over-aggressively unexpected.
  16. After a sensuous introductory act, The Reader descends into a series of dismaying contradictions regarding the moral toxins of the Holocaust - which still pollute postwar Germany.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    It’s weird-stupid more than good-stupid.
  17. Ironically, the phoniness that iconic teen romantic Holden Caulfield despised pervades Jim Sadwith’s Coming through the Rye, a semi-autobiographical tale of hero worship and literary integrity.
  18. Perry shelves his crowd-pleasing Madea character and aspires for the impossible mix of 1950s social melodrama, gospel-inflected public service announcement, soap opera, R&B video, girl-centric sitcom on the CW, and any episode of "Good Times," featuring Janet Jackson's oft-affronted Penny. Were Perry a visual director or a logical, patient screenwriter, that hybrid would count as a feat of singular ambition. Instead, it seems like the product of an abbreviated attention span.
    • 59 Metascore
    • 50 Reviewed by
      Ty Burr
    Sarah Silverman is far and away the best part of I Smile Back, a strained entry in the Mad Housewife genre.
    • 72 Metascore
    • 50 Reviewed by
      Ty Burr
    12
    The new film's not only almost double the length of the original, it's four times as ambitious - a sprawling, surrealist, ultimately disturbing portrait of a society lurching uncertainly toward democracy. What's really on trial in this movie? Just the Russian soul.

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