Boston Globe's Scores

For 6,102 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 0.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 My Perestroika
Lowest review score: 0 Cocktail
Score distribution:
6102 movie reviews
  1. Chazz Palminteri's the best thing in the movie. He now has the look of a slightly beefier Steve Buscemi. But where Buscemi is all nerves on edge and something bad waiting to happen, Palminteri has a winning ease.
  2. This good-hearted but undersupplied ensemble piece is only appetizer-deep.
  3. The mess that's been made with all this money is maddening. This isn't economical moviemaking. It's a deluxe trailer for "Eragon 2."
    • 45 Metascore
    • 50 Critic Score
    Its muddled, overambitious story leaves us unsatisfied - you might even say hollow.
    • 61 Metascore
    • 50 Reviewed by
      Ty Burr
    Bahrani is brilliant at small gestures and the way they can speak volumes, but in At Any Price he’s aiming for grand tragedy, and he doesn’t yet have the knack. The pacing of the final act is uncertain; the epic sweep doesn’t arrive.
  4. The amusement it provides is cheap, disposable, and hardly worth the number of quarters you fed into the slot in a frenzy not to go home empty-handed.
  5. Scream 4 has a smart beginning, featuring Anna Paquin and Kristen Bell, and one well-delivered line at the end that would have brought down the house in a better movie.
  6. Some will find it chicly inspired, recalling blaxploitation's heyday with its grimy urban realism. Some will rightly find it corny, absurd, and an insultingly limited presentation of options for the most disenfranchised African-Americans: I'm still waiting for the movie fantasy about the pimp who wants to get his GED.
  7. Sadly, more than an hour of this movie is given over to talking. And not the wink-wink Quentin Tarantino kind, either.
    • 64 Metascore
    • 50 Reviewed by
      Ty Burr
    Aside from pretty people behaving cutely, there's just not much here, and even devoted Francophiles may nod into their cafe crèmes.
    • 51 Metascore
    • 50 Critic Score
    For every insight, there are a half-dozen meandering conversations and unguided reminiscences.
  8. Mostly it's Paredes' imperious - then surprisingly generous - high-handedness that carries High Heels. [20 Dec 1991]
    • Boston Globe
  9. Too well-meaning and too infused with genuine poignancy from Smith and Harris for the film to be dismissed as just a trigger for our snark reflex. But it’s a shame that the tears Smith sheds aren’t serving a better conceived story.
  10. It does not feel good to report that a movie with Robert Redford, Meryl Streep, and Tom Cruise makes the eyelids droop. But that's what Lions for Lambs does.
  11. About a magical toy shop, but it has some of the sadder moments I've seen in a movie all year.
  12. Talya Lavie’s Zero Motivation has more substance than a sitcom, even though it’s broken down into three TV series-like episodes. But it’s no “M*A*S*H” — a film to which some have compared it — either.
  13. The story loses its convincingly scaled sense of jeopardy in the late going, and it ultimately unravels.
  14. In theory, there's nothing wrong with this unorthodox approach to Arbus -- attempting to explain her from the inside out. (In its way, Harmony Korine's freakfest "Gummo" is a better Arbus movie.) The trouble is that Shainberg and Wilson don't connect their conceit to anything artistically enlightening, erotic, or truly deviant.
  15. These are not the marks of true cinema; they're the makings of a droopy karaoke video.
    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    An important film, on an important subject, that has had the life beaten out of it by Robert Redford, a man who should know better.
    • 46 Metascore
    • 50 Critic Score
    Plants the seeds of comedy that grow into a mild feel-good flick, but it won't reap much viewer satisfaction.
    • 60 Metascore
    • 50 Critic Score
    There are moments in Christopher Nolan's thematically ambitious film noir that make you wish he had the time and money and, to a certain degree, talent, to fulfill his lofty goals. [11 Feb 2000, p.C9]
    • Boston Globe
  16. Isn't so much awful as it is self-conscious, overdone, shallow, and just not up to the level of its star.
  17. Attempts none of the witty, provocative visual and metaphysical set pieces from any of the ''Nightmare'' movies. And it offers none of the real fright of the early ''Friday the 13th'' films. In fact, the movie is deeply, proudly unimaginative.
  18. There are moments, too, where the forced hipness falls aside and the two lead characters just plain relate, realistically and maturely, with a seasoned playfulness that is truly charming.
  19. Director Nowrasteh seems to think the only way to save lives is to sensationalize death. You could trek to the theater and have this movie whack you upside the head. You could also just mail a check for $10 to the human rights group of your choice.
  20. The movie is a serviceable way to pass the time: Kids will cheer the bright colors and funny new words ("Kowabunga!").
  21. Lacks the creepy immediacy of even the most misbegotten of the found-footage genre.
    • 44 Metascore
    • 50 Reviewed by
      Ty Burr
    Which is precisely what’s missing from Oz the Great and Powerful: that sense of emotional journey.
  22. Owes less to any film genre than to TV soap operas offered with far fewer pretensions on any given afternoon.
    • Boston Globe

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