Boston Globe's Scores

For 5,331 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Citizenfour
Lowest review score: 0 From Justin to Kelly
Score distribution:
5,331 movie reviews
  1. It’s unclear what Amy Adams did to deserve Leap Year, but all that’s missing from the movie is a set of jailhouse bars over her scenes.
  2. With a plot devoid of suspense and characters without complexity, Rand's iconic line elicits merely a yawn, or a shrug.
  3. Offers cliches instead of chills.
  4. Creaky, earnest melodrama.
    • 58 Metascore
    • 38 Reviewed by
      Ty Burr
    An attempt to turn the 2005 nonfiction bestseller into a high-energy docu-romp, Freakonomics is a misconceived botch.
  5. The movie is swept up in earnest self-importance.
  6. How funny that Pryce, a tweedy Brit playing a bad guy, should be the one person doing anything remotely heroic for this dud.
  7. Bertrand does his jelly-belly best to keep Starbuck a comedy. But even the broadest shtick can’t prevent a movie that features a Busby Berkeley-style group hug from becoming a male weepie. Or a testimonial to Planned Parenthood.
  8. The screenplay, with its relentlessly schematic characters saying relentlessly schematic things, is so moronic that it makes you long for a documentary on the real Cape League.
  9. Unfortunately, Mann also leans on ill-fitting story elements that he might easily and smartly have avoided, and the movie’s rhythms and credibility pay for it.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    Perhaps because Campbell is a purist at heart, My Name Is Bruce is as awful as anything he has done - a broadly silly gore comedy in which no gag is too cartoonish to be indulged in at least once and preferably three times.
    • 33 Metascore
    • 38 Reviewed by
      Ty Burr
    It's a disappointingly limp small-town farce played several shades too broadly by a cast that has done better work elsewhere.
    • 40 Metascore
    • 38 Critic Score
    When is a comedy not a comedy? When it’s not all that funny.
  10. For better and worse, the movie is more attractive and competently assembled than its schlock peers. That's refreshing, but it hardly excuses the appalling lack of suspense, intermittent tastelessness, or shockingly low camp quotient.
  11. Aside from the clever punning of the title, Spare Parts ends up as jury-rigged and programmatic as Stinky, the robot in the movie. And, unlike Stinky, it is dead in the water.
  12. Almost nothing works in this movie.
    • 37 Metascore
    • 38 Reviewed by
      Ty Burr
    The greater embarrassment is that so many millions of dollars have been wasted on an entertainment that feels so smug, so pointless, and so thunderously empty.
  13. Thunder falls into the common mistake of many children’s films — it underestimates its audience.
  14. In the end, the thing that Cussler's fans will probably object to most is the nonsensical way Sahara manhandles his story.
    • 13 Metascore
    • 38 Reviewed by
      Ty Burr
    Innocuous amusement for 5- to 8-year-olds and other people stuck in the anal stage of development.
    • 37 Metascore
    • 38 Reviewed by
      Ty Burr
    All that's missing is coherence. Call it Blunderbuss Satire.
    • 43 Metascore
    • 38 Reviewed by
      Ty Burr
    So unfocused is Shonda Rhimes's screenplay and so flabby is Marshall's direction.
  15. It can seem sometimes that Hollywood has a monopoly on stupid, obnoxious comedy. Anyone who sees Klown will learn otherwise. Comedy can be just as stupid and obnoxious in Danish.
    • 35 Metascore
    • 38 Reviewed by
      Ty Burr
    We haven't had a good Frankenstein, Dracula, or Wolf Man movie in a long time, so here's one where the whole gang shows up. One catch: It's not good.
    • 22 Metascore
    • 38 Reviewed by
      Ty Burr
    Silly, obvious, clumsy, and just gruesome enough to keep jaded genre fans from angrily throwing popcorn at the screen.
  16. Oranges and Sunshine is like a Mike Leigh movie drained of all its bodily fluids.
  17. Almost all mainstream movies steal from other movies, but the better ones get away with it because they possess some distinctive identity. The best that Ken Scott’s Unfinished Business can come up with is Vince Vaughn — as the straight man.
  18. A sodden-looking film.
    • Boston Globe
  19. This story could have gone in a number of more inspiring allegorical directions but winds up your average bedtime story instead.
  20. Ignore the hype. You won't find anything startling or memorable in the derivative Hide and Seek.

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