Boston Globe's Scores

For 5,034 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Marwencol
Lowest review score: 0 Bratz
Score distribution:
5,034 movie reviews
  1. Lawrence is back on the big screen, and it simply demands to be seen. Yes, again.
    • 100 Metascore
    • 100 Reviewed by
      Ty Burr
    To see Au Hasard Balthazar is to understand the limits of religious literalism in movies -- the limits, even, of movies themselves. Bresson pares everything away until all that's left are the things we do and the hole left by the things we could have done but didn't.
    • 100 Metascore
    • 100 Critic Score
    One of his (Bergman's) most life-affirming films.
    • 99 Metascore
    • 100 Reviewed by
      Ty Burr
    Moves like hot mercury, and it draws a viewer so thoroughly into its world that real life can seem thick and dull when the lights come up.
    • 99 Metascore
    • 88 Reviewed by
      Ty Burr
    Why revisit Shoah 25 years after it was first released? Because it matters more a quarter century on, just as it will matter even more in a hundred years, and 200, and - if it and we survive - a thousand.
    • 99 Metascore
    • 100 Reviewed by
      Ty Burr
    The results bear witness to a time when sacrifice was bleached of everything but itself.
    • 98 Metascore
    • 100 Reviewed by
      Ty Burr
    Foreign intrigue is raised to an art form.
  2. Pan's Labyrinth is a transcendent work of art.
  3. It's terse, atmospheric, fatalistic, with vertiginous camera angles and edits offsetting its gray documentary flatness.
    • 97 Metascore
    • 100 Reviewed by
      Ty Burr
    Writer-director Cristian Mungiu confirms the Romanian cinema renaissance while creating a paradoxical marvel: a bleak tale of illegal abortion that powerfully affirms one's faith in people.
    • 97 Metascore
    • 100 Reviewed by
      Ty Burr
    12 Years a Slave is to the “peculiar institution” what “Schindler’s List” was to the Holocaust: a work that, finally, asks a mainstream audience to confront the worst of what humanity can do to itself. If there’s no Oskar Schindler here, that’s partly the point.
    • 97 Metascore
    • 100 Reviewed by
      Ty Burr
    The one aspect of the original Producers that still stuns is the roaring, over-the-top, in-your-face thereness of its two lead performances.
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    Days of Being Wild shows Wong discovering his own cinematic language, and he's as astonished as we are.
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    Is ''Dr. Strangelove" Kubrick's best movie? Along with ''Paths of Glory," absolutely.
  4. All the voice work here is excellent, especially Oswalt's. He sounds like Paul Giamatti but with a greater capacity for confidence.
    • 96 Metascore
    • 88 Reviewed by
      Ty Burr
    The movie’s an astonishingly detailed, visually painstaking state-of-the-art production that advances what the cinema can show us—even as the human story at its center feels a little thin after a while.
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    Chaplin's sentimental politics and peerless comic invention dovetailed more perfectly in this film than in any other he made.
    • 95 Metascore
    • 100 Reviewed by
      Ty Burr
    On the level of craft, the movie's just absurdly enjoyable. Sorkin's dialogue dazzles; the photography is burnished and sleek; the editing confidently sorts out a complex narrative.
  5. In a crisply restored print, it's as joyous as ever. We loved them - yeah, yeah, yeah. Now we can love them all over again.
    • 95 Metascore
    • 100 Reviewed by
      Ty Burr
    It's a movie made with the same coolly fanatical attention to craft the lead character displays in her work. Bigelow is now recognized as one of our true filmmaking naturals.
  6. This is a trenchant emotional thriller that you watch in dread, awe, and amazing aggravation. It's entirely predicated upon the outcome of bad decisions - and it is not a comedy. The situation that unfolds approaches the absurdity of farce but denies the relief and release of humor. It's a tragic farce. No option or choice is to be envied.
    • 94 Metascore
    • 100 Reviewed by
      Ty Burr
    If the first two films belong with the greatest (if talkiest) movie romances of all time, the new film is richer, riskier, and more bleakly perceptive about what it takes for love to endure (or not) over the long haul.
  7. Music for the eyes. That's why it has become a treasured classic. That's why we'll see it again and again.
  8. A milestone of eloquent understatement that captures the daily life of have-nots as few American movies have.
  9. In The Hurt Locker, the thrill is unexpectedly contagious. You don't realize how riveted you are until you're back on American soil observing James in civilian life.
    • 94 Metascore
    • 88 Reviewed by
      Ty Burr
    The film, dazzling and poignant and five years in the making, retells the ancient Indian epic "The Ramayana" from a gentle but insistent feminist perspective.
    • 94 Metascore
    • 100 Reviewed by
      Ty Burr
    The best American film of the year to date.
    • 94 Metascore
    • 100 Reviewed by
      Ty Burr
    The Battle of Algiers is a thinking person's action film in which there are winners -- but no heroes.
    • tbd Metascore
    • 100 Reviewed by
      Ty Burr
    So clear-eyed and three-dimensional that it makes the recent ''Pearl Harbor'' look like a bunch of kids playing dress up. Aspects of the film have dated, but in the important things it's more mature than anything proposed lately by modern Hollywood.
    • 94 Metascore
    • 100 Reviewed by
      Ty Burr
    It's a performance (Giamatti's) so nuanced and so real in its everyday pain that it doesn't stand a chance of winning an Oscar. But it should.

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