Boston Globe's Scores

For 5,281 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Pianist
Lowest review score: 0 Cocktail
Score distribution:
5,281 movie reviews
  1. Heartlessness, stupidity, cynicism, and greed are a demoralizing combination for movie-going. We pay to see a movie that doesn't respect us for being there at all.
  2. Never thought we'd say this about a movie, but Bucky Larson probably doesn't wring as much out of recurring bodily-fluid gags as it could.
    • 31 Metascore
    • 25 Critic Score
    Deep in the swampy hearts and minds of some filmmakers, embarrassing stereotypes still fester, gathering moss and slime.
  3. One of those movies that an audience knows is terrible the minute it starts.
    • 52 Metascore
    • 25 Reviewed by
      Ty Burr
    The Women on the 6th Floor is delicate and sensitive and utter bollocks - a bourgeois wet dream made to soothe the souls and stir the loins of powerful men in midlife crisis. But some of us wish we could see this movie told from the maids' point of view.
  4. None of what we see is at all credible.
  5. New Year's Eve is fun in the way that eating at a buffet is fun. It's two hours of foods that have nothing to do with each other piled high on a plate because it was too cheap to resist.
    • 24 Metascore
    • 25 Critic Score
    Whatever character they bring to their lines, the actors' voices are mostly unrecognizable after being digitally 'munk-ified.
    • 16 Metascore
    • 25 Critic Score
    Once upon a time, you'd go to see a grade-C genre movie like this willing to trade consistency and artfulness for a few stray thrills or oddball charm. But Darkest Hour doesn't have even as much character as those Discover commercials.
  6. It's got both a soap opera plotline and a Chuck Norris-load of taxpayer-financed gadgets and gear. It also has Reese Witherspoon in another terrible part.
    • 68 Metascore
    • 25 Reviewed by
      Ty Burr
    Ramsay delivers an overdirected, conceptually obnoxious art film that's torture to sit through, listen to, and think about.
    • 48 Metascore
    • 25 Critic Score
    This purposefully bad dystopian gangsta drama - imagine a "Boyz 'n the Hood,'' "Mad Max,'' and "Breakin' 2: Electric Boogaloo'' mash-up - simply fails.
  7. The movie wants us to find this frightening, but there's no suspense, no terrifying images.
    • 45 Metascore
    • 25 Reviewed by
      Ty Burr
    Me, I'm a Johnny Rotten man, so this limp culture-clash comedy with a heart of patchouli just made me want to stab my eyeballs out.
    • 42 Metascore
    • 25 Reviewed by
      Ty Burr
    A pox upon history and an insult to the 16th president of the United States. It's that, of course - actually, that's the point - but this joyless, deafening cinematic headache commits a different crime. It's a sin against entertainment.
  8. The movie has elements of road picture, social satire, and odd-couple romance, but mostly it's about lack of pacing and tone. Somewhere very (very) deep in here is a whiff of "Citizen Ruth," and who knows what Alexander Payne might have done with this material. Instead we know what writer-director Robbie Pickering has done with it, and that ain't much.
  9. The squirminess stands out here because there's so little going on the rest of the time.
  10. Well, fair's fair. George W. Bush got Michael Moore and "Fahrenheit 9/11." Now Barack Obama gets Dinesh D'Souza and 2016: Obama's America. Both films are wildly partisan attack documentaries made by wildly partisan and generally annoying polemicists (D'Souza is more personable, actually, than Moore).
  11. Will your preschoolers enjoy it? Perhaps. Is it worth 88 minutes of their lives, or yours? Not in a world where "Sesame Street" is on TV every day. Not even in a world where "Sesame Street" didn't exist.
  12. What is offensive is how the masquerade punks these other people - and to no seeming purpose, other than to provide Gandhi with footage for this documentary.
  13. This is a terrible little movie even by the standards of the genre.
  14. It's always raining or snowing or misting. This makes for a nice visual, but it also makes the scenes look interchangeable. This is even more of a problem because the writer-director, Michael J. Bassett, imparts no shape to the story. Many movies suffer from worse problems, but not many waste the talents of Max von Sydow, as Solomon's father, or Pete Postlethwaite.
  15. The best we get here are modest action diversions.
    • 35 Metascore
    • 25 Reviewed by
      Ty Burr
    Unfunny, predictable, and vulgar, it’s the generic equivalent of a Judd Apatow movie. As always, you get what you pay for.
  16. Back to the Future III has no future. The reason is that it never works up much of a past as it sends its gull-winged DeLorean time machine back to the Old West. In effect, it goes back to the Age of Steam and runs out of gas. [25 May 1990, p.45]
    • Boston Globe
    • 56 Metascore
    • 25 Critic Score
    The film’s zippy graphics are a treat, but its zippy arguments are slipshod.
  17. Not that there’s all manner of comedy craftsmanship demanding study here, but the movie does seem to be a funny jumble of contradictory impulses.
    • 45 Metascore
    • 25 Reviewed by
      Ty Burr
    Pain & Gain, a jokey but fatally tone-deaf true-crime caper, plays like “Fargo” for idiots.
  18. Quaint and crass get together — or would that be “bump uglies”? — with awkward, thoroughly flat results in The Big Wedding, an ensemble comedy with a tonal cluelessness as surprising as the name cast that signed on for it anyway.
    • 41 Metascore
    • 25 Reviewed by
      Ty Burr
    Kick-Ass 2 is a special kind of crap: the kind smart people make for audiences they think are stupid.

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