Boston Globe's Scores

For 6,037 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 0.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 My Perestroika
Lowest review score: 0 Porky's
Score distribution:
6037 movie reviews
    • 88 Metascore
    • 100 Reviewed by
      Ty Burr
    Citzenfour is prosaic in its presentation and profoundly chilling in its details, and if you think Snowden is a traitor, you should probably see it. If you think he’s a hero, you should probably see it. If you haven’t made up your mind — well, you get the idea.
    • 88 Metascore
    • 88 Critic Score
    Cantet's script and direction are flawless, and, matched step-for-step by Jocelyn Pook's mournful score, he builds the tension to near unbearable levels.
    • 88 Metascore
    • 100 Reviewed by
      Ty Burr
    The chance to watch a four-star classic the way it was meant to be seen -- fresh print, big screen -- is so rare as to be worth the trip.
    • 88 Metascore
    • 88 Reviewed by
      Ty Burr
    With a tranquil fearlessness, it goes beyond the death of memory, to see what might be found in the unexplored country beyond. The answer is both frightening and comforting: More love. Unspecified love. Universal love.
  1. Mafioso is the missing link in the mob movie arc.
    • 88 Metascore
    • 88 Reviewed by
      Ty Burr
    Formally, the movie's a lasting pleasure: Reed's incisive direction; Greene's easy yet weighted dialogue; the farseeing deep-focus photography of Georges Perinal; Vincent Korda's luxuriant sets.
  2. The result is a masterpiece of investigative nonfiction moviemaking - a scathing, outrageous, depressing, comical, horrifying report on what and who brought on the crisis.
    • 88 Metascore
    • 100 Reviewed by
      Ty Burr
    The miracle is that 'The Lord of the Rings: The Two Towers is better: tighter, smarter, funnier.
  3. There's nothing paltry about its poultry.
    • Boston Globe
    • 88 Metascore
    • 88 Critic Score
    The director's cut has been getting a much warmer critical reception than the original release, but not necessarily because it's significantly better.
    • 88 Metascore
    • 63 Reviewed by
      Ty Burr
    The movie isn't badly done, just overdone - a cozy art-house crowd-pleaser coasting on the expectations of its genre.
    • 88 Metascore
    • 88 Reviewed by
      Ty Burr
    The dialogue is terse and funny while hinting at much larger matters, such as the way poverty can be handed from generation to generation like a bad gene or a disease.
    • 88 Metascore
    • 100 Reviewed by
      Ty Burr
    Up
    On the most basic level the new film is pure vaudeville: a loopy flyaway fantasy that's hysterically funny if only to keep the darkness at bay.
  4. For such a small place (officially a city, Sidney sure feels like a town), it's strikingly diverse.
    • 88 Metascore
    • 88 Reviewed by
      Ty Burr
    Wake in Fright is a monster movie, and the monster is us.
    • 88 Metascore
    • 88 Reviewed by
      Ty Burr
    Braga has hardly stopped working since, on either continent, but Aquarius is a comeback, a homecoming, and a character film in which both the heroine and the actress playing her are characters of the first order.
  5. It takes a few minutes to catch on, and it would be indiscrete to specify what it is, but once you figure out what’s really strange about it you have entered the solipsistic prison of a tormented mind.
  6. Everything you could want in a sequel. It satisfyingly regenerates the characters and qualities that made the first film so popular. And then it moves them forward into newer, fresher, more elaborate, more involving territory.
    • 88 Metascore
    • 100 Reviewed by
      Ty Burr
    Birdman finds Iñárritu in the mood for play, and with a mighty cast that fields every pitch he throws.
    • 88 Metascore
    • 88 Reviewed by
      Ty Burr
    Spare and elegant and harrowing, it's an ode to childhood trust being stretched until it snaps.
  7. Nobody makes films as sympathetic to struggling working-class types as Mike Leigh, and nobody makes them as uncondescendingly. Although uneven, Leigh's latest, Life Is Sweet, is a honey of a film, one of the few to feel good about in this dismal year. [22 Nov. 1991, p.35]
    • Boston Globe
  8. The arrival of closing credits feels like a trap door. The film is over, and, suddenly, we have to leave these people. The directors make no guarantee for their futures, but the strength of their filmmaking inspires you to hope for the best.
    • 87 Metascore
    • 88 Critic Score
    Moore's conception of the character is compelling. She rivets us. She's assisted by the superb performances Redford has elicited from her co- stars, Sutherland and Timothy Hutton, who plays Conrad, the guilt-ridden surviving brother of the dead boy. [26 Sep 1980]
    • Boston Globe
  9. [The novel's] themes have never not been fresh and they gleam here under the sympathetic and enlivening touch of Armstrong and her cast, who move through the events with sunny assurance and complete immersion in character. [21 Dec 1994]
    • Boston Globe
  10. This is a modest marvel of grace and framing that unfolds with the patience of a cloud and is driven more by wonder than pure emotion. It doesn't have the exuberance of Francois Truffaut 's "Small Change." Instead, it's that movie's antonym, yet just as wondrous.
  11. This is a movie whose power comes from the alignment both of Mija's discovery with ours and of a tremendous writer and director with his star.
  12. His film aspires to a poetry about barbarism that will not let us forget.
  13. Both a staggering realist thriller and a jeremiad.
  14. Nothing momentous happens here, but Philibert has a magical sense of how to find the simple poetry lurking in the universal routine of being a kid. A lot of the film's lyricism is extracurricular.
    • 87 Metascore
    • 88 Reviewed by
      Ty Burr
    Crowley and his creative team — cinematographer Yves Bélanger, designer François Séguin, composer Michael Brook, costume designer Odile Dicks-Mireaux — build a cinematic snow-globe of nostalgia, a portrait of two worlds that aches with family lost and freedoms found. It is a beautiful film to experience.

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