Boston Globe's Scores

For 6,227 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 Bugsy
Lowest review score: 0 P2
Score distribution:
6227 movie reviews
  1. Most of all, California Typewriter is an elegy. “The truth is, no good typewriters are going to be made again,” Hanks laments. There’s a reason that the title of the first tune on the fine musical soundtrack is “Stolen Moments.”
    • 43 Metascore
    • 38 Reviewed by
      Ty Burr
    Year by the Sea is for audiences who don’t trust the shiftiness of nuance and craft, of messages that rise up from dramatic situations rather than being pasted on top of them, and who would prefer their life lessons stated loudly and for maximum applicability.
    • 75 Metascore
    • 50 Reviewed by
      Ty Burr
    With mother!, Aronofsky throws caution to the winds and delivers his most abstract cinematic experience yet. It’s also arguably his worst.
  2. Trouble is, the movie’s dopiness isn’t in fact something you can get past. “American Assasinine” is frequently more like it.
  3. Jolie does not dwell on the atrocities, though a horrifyingly ironic battle scene near the end contains some gruesome imagery.
    • 46 Metascore
    • 50 Reviewed by
      Ty Burr
    The movie tries to tell the whole story instead of just a good one.
  4. After Love is like being stuck at a dinner with an unpleasant couple who won’t stop squabbling.
  5. A glorious late-summer pendant.
    • 81 Metascore
    • 75 Reviewed by
      Ty Burr
    Whose Streets? gives us more than enough stories from people not often enough heard, and their refusal to remain silent is invigorating.
  6. Kogonada establishes a meditative tone and rhythm as his compositions parallel the building’s pleasing symmetries.
  7. Home “again”? It seems that first-timer Meyers-Shyer isn’t setting so much as a piggy toe beyond familiar territory, and this listless rom-com shows it.
  8. It
    Ultimately, cast and crew conjure up horror that’s more efficient than terrifying.
  9. That’s how the gifted young Argentine writer-director Matías Piñeiro makes his movies, in a style that seems casual and feels sure-handed — casual and sure-handed being about as good a combination as artistry, in any medium, has to offer.
  10. After Lake Bell’s smart, unconventional debut, “In a World. . .” (2013), her new film, I Do . . . Until I Don’t (she apparently likes ellipses in her titles), is disappointingly ordinary.
  11. The film has two big things going for it: Stanfield and Asomugha. Their characters could easily become capital-letter caricatures — Victim, Loyal Friend — but the actors give Warner and King a sense of personality, and deeply felt hurt, that stays with you.
  12. Mostly people talk. Lovely to look at, In Transit is even better to listen to. The documentary tells us straightaway that what we hear matters just as much as what we see.
  13. Ingrid Goes West doesn’t offer Plaza a breakout role so much as a dig-deeper role. There’s a bravery to her performance that recalls De Niro as Pupkin. Actors really, really like to be liked — and understood. Ingrid is intensely unlikable — and opaque.
    • 67 Metascore
    • 75 Reviewed by
      Ty Burr
    Patti Cake$ charts a path of rise and fall, breakthrough and disappointment, montage and romance that would be woefully predictable if we weren’t having so much fun tagging along. What’s fresh is the central figure, her talent and presence, and an exuberance that all that concrete Tri-State armor can’t hide.
  14. The main reason it does not seem contrived is the performances of Catherine Deneuve and Catherine Frot. Because of their authenticity, and Provost’s mostly sure hand at maintaining mood and tone, the film is a moving immersion into the mysteries of time, memory, and mortality.
    • 80 Metascore
    • 88 Reviewed by
      Ty Burr
    Good Time is a prime example of what the cynical or the uninterested might dismiss as “feel-bad cinema” — low budget, kitchen-sink realism about unpleasant people in worse situations. It also happens to be one of the most uncompromising movies I’ve seen all year: vibrant and desperate and alive, it’s a work hanging on by its fingernails.
  15. As an orphan who dreams of joining the Paris Opera Ballet in the animated feature Leap!, Elle Fanning really hears it about the artistry and precision required to become a prima ballerina. The makers of this cheery but subpar confection probably should have been taking notes in addition to scripting them.
  16. Funny, heartbreaking, impeccably observed, and nearly flawless drama.
  17. There aren’t sufficient words to describe the remarkable visual environment; suffice it to say that the production designers are the stars here as much as the cast. More so, really.
  18. The painterly beauty of anime detaches the viewer from the terrible events depicted, but it also makes these cataclysms more accessible to the imagination.
  19. 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.
  20. The proof that the “Trip” formula hasn’t become formulaic? How often, and hard, these two can make an audience laugh.
  21. Even by the junk-food standards of summer action comedies, The Hitman’s Bodyguard is overlong, over-violent, and over the top.
    • 78 Metascore
    • 63 Reviewed by
      Ty Burr
    The new movie, a heist comedy, has been described in some quarters as “Ocean’s 11” for the NASCAR crowd, and that’s not wrong. It also feels like the director is trying to reverse-engineer one of the Coen brothers’ loopier excursions and not getting every one of the pieces in order.
  22. Step, the African-American competitive art that is the subject of Amanda Lipitz’s taut, intimate, passionate, and celebratory documentary of the same title, is not to be confused with its Irish namesake in “Riverdance.”
  23. All three actors are excellent. So’s Gil Birmingham, as the victim’s father.

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