Boston Globe's Scores

For 6,135 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 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Widow of Saint-Pierre
Lowest review score: 0 Porky's
Score distribution:
6135 movie reviews
    • 68 Metascore
    • 88 Critic Score
    A film of great ingenuity and imagination, full of suggestive power, and it deserves to be seen.
  1. Warm, smart, and funny!
    • Boston Globe
    • 79 Metascore
    • 88 Reviewed by
      Ty Burr
    You don’t get groundbreaking cinema from Fences, but what you do get — two titanic performances and an immeasurable American drama — makes up for that.
    • 80 Metascore
    • 88 Reviewed by
      Ty Burr
    Queen of Versailles is still worthwhile, not because it questions all-American entitlement but because it prompts us to think hard about what, exactly, we believe we're entitled to.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    An entertainment to be not just seen but absorbed on a molecular level; it's as close to a full-body experience as we'll get until they invent the holo-suits. Cameron aims for sheer wonderment, and he delivers.
  2. Despite the fabulism of Tale of Tales, it remains rooted in contemporary issues. Prince Charming does not figure much in this film, but women do.
    • 75 Metascore
    • 88 Reviewed by
      Ty Burr
    A work of quiet, crystalline empathy, I’ll See You in My Dreams is notable for reasons that nearly overshadow its modest yet indisputable charms. It’s a drama about the kind of people invisible to the movies and much of our culture — senior citizens in the early evening of their lives — and it grants its characters individuality in ways that are almost wholly free of cliché.
    • 94 Metascore
    • 88 Reviewed by
      Ty Burr
    It is a joy for audiences seeking entertainment, an ingenious work of craft for those paying close attention, and a wallop of feeling that’s still too rare coming from a cartoon.
    • 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.
  3. Everything about Chop Shop is modest - the movie's scale, the characters' ambitions. Another director might have tried to nudge the film's grim detours toward tragedy. And that might have worked, too. But Bahrani is a refreshingly deceptive director in that sense.
  4. Adults should find its simmering drama at least as compelling as teens will, even if parental figures are only slightly more present here than in a " Peanuts" comic strip.
  5. Here the Japanese senses of honor and of shame are particularly entangled. Later in the film, Lu mounts an Imperial Army parade through the Nanking ruins. It's something to see.
    • 79 Metascore
    • 88 Reviewed by
      Ty Burr
    The film is valuable for gently insisting on both the indignities and the dignity of old age, and it’s invaluable as a keepsake of a most individual screen presence. It is, simply, a lovely time at the movies.
    • 80 Metascore
    • 88 Reviewed by
      Ty Burr
    A mesmerizing coming of age adventure in an elemental setting, Theeb becomes both more allegorical and more specific to our historical moment the more you think about it.
  6. It's the best drug-busting movie since ''The French Connection.''
  7. Like the children’s films of Iranian directors Abbas Kiarostami and Jafar Panahi, Bad Hair explores such social pathology, in part, in the guise of a kids’ movie. But it also takes on the intensity of more pointed films such as “Bicycle Thieves” (1948) and even Hector Babenco’s sensationalistic “Pixote” (1981).
  8. It sounds like the old unstoppable-force-meets-immovable-object trick. Ramin Bahrani's Goodbye Solo has the trappings of such a story, but, mercifully, none of the follow-through.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    Think of it as "Glee" without music. Without a net, too.
  9. Huppert’s amazing performance not only masters the physical rigors and deformations of her character, but more importantly captures her cold capriciousness and the enigmatic innocence that one of Maud’s friend’s labels “perverse.”
  10. It is haunting in its literal and symbolic meanings, which is the powerful, lingering effect of Yellow Asphalt.
    • 73 Metascore
    • 88 Reviewed by
      Ty Burr
    The great pleasure of le Carré-land — for some, it’s the frustration — is that one’s own moral certainties are quickly stood on their head.
  11. As often happens in Guzmán’s films, The Pearl Button keeps returning to the Augusto Pinochet dictatorship of 1973-90, during which thousands of Chileans were “disappeared,” taken away and never seen again alive.
  12. Funny, gritty, filled with surprising stabs of feeling, Parenthood is a stretch for Ron Howard, its director. This new adult comedy has the generosity of "Cocoon" and "Splash," but it takes Howard into deeper, darker, messier territory. [2 Aug 1989, p.57]
    • Boston Globe
  13. What's most remarkable about it is the way Bong builds real suspense and plays the chilling moments straight while leaving himself room for nonsense and horseplay. He seems completely at ease with the marriage of the silly with the serious. Only time can reveal whether he's a master filmmaker, but this, at least, is a masterful performance.
    • 70 Metascore
    • 88 Reviewed by
      Ty Burr
    The only question his movie doesn't ask is "What do you want your next car to run on?" That's up to you.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    Essential viewing for anyone who wants to know the roots -- and perils -- of modern political dissent.
    • 74 Metascore
    • 88 Reviewed by
      Ty Burr
    A compelling and eerily effective little drama.
    • 69 Metascore
    • 88 Reviewed by
      Ty Burr
    Crazy Love doesn't downplay the awfulness of what happened , but it also knows a good media circus when it sees one.
  14. Fresh, original, and arresting.
    • Boston Globe
  15. Like its stunt work, the movie is both ridiculously hyperactive and a muscular feat of absolute confidence. I don't expect to have a more adrenalizing time at the movies this summer.

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