Boston Globe's Scores

For 5,988 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 The Magdalene Sisters
Lowest review score: 0 The Nutcracker
Score distribution:
5988 movie reviews
    • 60 Metascore
    • 50 Critic Score
    Not without its charms. But it never rises to its clever what-if concept.
    • Boston Globe
  1. Unlike other films that successfully explore abstractions, such as Wong Kar Wai’s “In the Mood for Love” or the memoiristic collages of Terence Davies, it doesn’t seem to have much going on beneath the drab surface.
  2. Achingly slow, at times bleak and, in the end, frustratingly and regrettably, rather pointless.
  3. Belle has the pace and sumptuous cinematography of a Merchant and Ivory production, but none of their memorable characters, subtle performances, or literate dialogue.
    • 80 Metascore
    • 50 Reviewed by
      Ty Burr
    A textbook case of filmmakers who can't make up their minds about their characters; it's a failure of nerve disguised as dramatic ambiguity.
  4. In James Marsh's The King, the usually wonderful Gael Garcia Bernal is all wrong for the role of Elvis Valderez.
  5. The movie works best when it finds a balance between flatly familiar and over-aggressively unexpected.
  6. After a sensuous introductory act, The Reader descends into a series of dismaying contradictions regarding the moral toxins of the Holocaust - which still pollute postwar Germany.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    It’s weird-stupid more than good-stupid.
  7. Ironically, the phoniness that iconic teen romantic Holden Caulfield despised pervades Jim Sadwith’s Coming through the Rye, a semi-autobiographical tale of hero worship and literary integrity.
  8. Perry shelves his crowd-pleasing Madea character and aspires for the impossible mix of 1950s social melodrama, gospel-inflected public service announcement, soap opera, R&B video, girl-centric sitcom on the CW, and any episode of "Good Times," featuring Janet Jackson's oft-affronted Penny. Were Perry a visual director or a logical, patient screenwriter, that hybrid would count as a feat of singular ambition. Instead, it seems like the product of an abbreviated attention span.
    • 59 Metascore
    • 50 Reviewed by
      Ty Burr
    Sarah Silverman is far and away the best part of I Smile Back, a strained entry in the Mad Housewife genre.
    • 72 Metascore
    • 50 Reviewed by
      Ty Burr
    The new film's not only almost double the length of the original, it's four times as ambitious - a sprawling, surrealist, ultimately disturbing portrait of a society lurching uncertainly toward democracy. What's really on trial in this movie? Just the Russian soul.
    • 62 Metascore
    • 50 Reviewed by
      Ty Burr
    The film's meta-fey title alone is an example of why some people adore Anderson and why he drives others absolutely crazy.
  9. Intermittently engaging but inescapably overextended.
    • Boston Globe
  10. Redmon's film is a welcome reminder that everything comes from somewhere and responsible people should at least pause to examine the label. For one thing, that's how bigger and better documentaries get made.
  11. The script boasts some tart TV-insider humor, but the film has not a trace of humanity or empathy.
  12. The appeal of Bedtime Stories belongs entirely to Sandler. As a comedian, he doesn't have to stoop to a kid's level. He's usually already there.
  13. The problem with the new movie is the same as with the previous one. Vardalos has this idea that she's a marm. And while it's true that she personifies her movies, I don't quite buy her librarian mode.
  14. Choppy, cheesy historical war epic really has only a couple of things going for it, and its biggest asset remains the heroic popular legend that inspired its making.
  15. At its best, it delves into the murky areas of memory, childhood trauma, and family conflict. But it forgoes such troubling issues for mumbo jumbo and glowing-eyed wraiths.
    • 33 Metascore
    • 50 Reviewed by
      Ty Burr
    In a better movie -- a much better movie -- LaBeouf might make the same sort of impact Dustin Hoffman did in ''The Graduate.'' But the kid's young. There are movies to come.
  16. Unfortunately, as the story builds toward tenderness, it’s undercut with slathering tongues and bare-chested stud-muffin shots.
  17. It’s another brightly rendered effort, but, as the title indicates, a lot of the real creativity seems to have been used up the first time around.
    • 29 Metascore
    • 50 Reviewed by
      Ty Burr
    You've seen New in Town before, and you've seen it done better. Still, it's a sweet-hearted bit of anemia, pleasant and obvious, and there are a few honest laughs to it.
    • 66 Metascore
    • 50 Reviewed by
      Ty Burr
    Well-mounted and expertly played, Winter in Wartime is a class act that lacks only focus and originality to raise it above the ordinary.
    • 53 Metascore
    • 50 Reviewed by
      Ty Burr
    The film is crisply shot, expertly paced, solidly acted, and it gets a goose when Bill Pullman shows up in the late innings as a good-old-boy lawyer. (By contrast, it’s never convincingly explained what stake the union official played by Elias Koteas has in the drama.) All that’s missing is a reason.
  18. It seems more a geek show than a slab of marketing wizardry.
  19. The movie is as inconsequentially pleasant as its star, and far nicer than the title lets on, too.
  20. A flavorless family-friendly action-adventure that doubles as memory exploitation. It has nothing to do with either the Mickey Mouse broom sequence of the same name from 1940's "Fantasia'' or the 213-year-old Goethe poem that inspired it.

Top Trailers