Boston Globe's Scores

For 5,356 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 I'm the One That I Want
Lowest review score: 0 The Nutcracker
Score distribution:
5,356 movie reviews
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    All the pieces are in place for an incisive tale of Brit-pop ego and madness, but filmmaker Stephen Woolley -- a celebrated UK producer ("The Crying Game") making his directing debut -- lets the story get away from him.
  1. Comes off more like a series of painful cliches than a comedy or a love story.
    • Boston Globe
    • 63 Metascore
    • 38 Reviewed by
      Ty Burr
    Even a fan, however, might prefer the excellent, recently released concert DVD "Pixies: Live at the Paradise in Boston" to this tepid behind-the-scenes experience.
  2. What I found more disturbing was the casual misogyny of the convoluted story line.
    • 54 Metascore
    • 38 Reviewed by
      Ty Burr
    Behind the familiar hits, Jersey Boys is a story about the pressures and rewards of professionalism. Far too little of that has made it into this biopic. It’s just too mediocre to be true.
  3. Alba, meanwhile, is again ridiculously shoehorned into a comedy gig, although she does have an amusing opening bit spying while nine months pregnant. If only diaper bomb gags weren't the inevitable follow-up.
  4. Though Murray and Curry gamely deliver some chuckle-worthy one-liners along the way, they're mostly leashed to material as moldy and uninspired as the "Jeffersons" theme song.
    • 38 Metascore
    • 38 Reviewed by
      Ty Burr
    As B-level suspensers go, though, The Return isn't actively awful -- just slow and cursed with a lead who acts with her t-shirt.
    • 55 Metascore
    • 38 Reviewed by
      Ty Burr
    Aggressive visual invention is rarely its own reward, and this movie does nothing to better the odds.
  5. The truth is, indeed, still out there. And when Carter finds it, may he heed its wisdom: Let go.
  6. The sequel goes down the tubes by spreading itself across four time zones and inviting comparison to the original by spending most of its time back in 1955, where another mess must be set right. [22 Nov 1989, p.35]
    • Boston Globe
    • 52 Metascore
    • 38 Critic Score
    The crazy train of Insidious runs fully off the rails when the filmmakers go logical and some of the strange gets explained away as a double shot of demonic possession and astral projection.
    • 51 Metascore
    • 38 Reviewed by
      Ty Burr
    All the good intentions in the world can't save White Irish Drinkers from playing like the baldest of retreads.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    It's another one of those loud, penis-obsessed bro farces, lazily written (by actor Seth Rogen, among others) and haphazardly directed.
    • 52 Metascore
    • 38 Reviewed by
      Ty Burr
    Meant to be an insider's tale, but it feels like it comes from the cinema of hangers-on.
  7. This isn't a genre-less character study, it's myopic romantic comedy, and watching a woman of Catherine Zeta-Jones's easy carnality and fathomless beauty compete for the attention of Gerard Butler, who's pining for Jessica Biel, is dismaying, like spotting Anna Wintour in line at a soup kitchen.
    • 17 Metascore
    • 38 Reviewed by
      Ty Burr
    Generic teen dice-and-slice with interior design by way of ''Saw." The movie's tight and reasonably well shot, though, and there are flashes of nasty invention between the ritual guttings.
    • 45 Metascore
    • 38 Reviewed by
      Ty Burr
    Sydney White makes "Mean Girls" look like Shakespeare.
    • 52 Metascore
    • 38 Reviewed by
      Ty Burr
    Wilde is stuck with the harder job of simultaneously playing sexy, innocent, conniving, and heartsore, and the effort appears to give her a headache. "This is kind of like an old movie," Liza says to Jay in one scene. Lady, don't you wish.
  8. The Strip makes you appreciate what hard work effortless comedy is.
  9. You couldn't ask for a better setting for a horror movie. What you could ask for is a better script.
    • Boston Globe
    • 52 Metascore
    • 38 Reviewed by
      Ty Burr
    There are rich issues at play here, about the nature of attraction and whether individual will is or isn't pinned to the wheel of physiology. But Decena hasn't dramatized them; he's used them as talking points set to an indie-film guitar strum, and the result is both earnest and passionless.
    • 27 Metascore
    • 38 Reviewed by
      Ty Burr
    A dunderheaded comic melodrama with clothes to die for and dialogue to shrink from. It’s downright depressing.
  10. Isn't all wrong. But even at its very best, it's just all right.
  11. For Hilton haters, the stupid and grotesque remake of House of Wax will only stoke their schadenfreude.
    • 57 Metascore
    • 38 Reviewed by
      Ty Burr
    I say kill off everybody else and bring back Farrell for the sequel.
  12. The lack of sexual tension is astounding.
  13. Stardust certainly could have gone somewhere fun. But the magic and zip you need to get a blimp like this off the ground is scarce.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    The results are -- there’s no other word for it -- a disaster.
  14. As for other voices, the most notable are Adam Sandler, whose capuchin monkey wears out his welcome pretty quickly; Maya Rudolph, whose jivey giraffe comes perilously close to aural blackface; and Nick Nolte's gorilla.
  15. Despite timely and worthwhile subject matter, there is nothing very inspired or inspiring in what makes it to the screen. Maybe they're saving all of that for the sequel, too.
  16. The casting alone should warn you about what kind of bottom this movie's going to hit.
  17. Alien Nation quickly abandons any possibility of an equivalently fascinating world for the formulas of a routine cop movie. [7 Oct 1988, p.40]
    • Boston Globe
  18. The movie treats trysting as comedy and yet is stingy with the laughs.
  19. A mawkish, preposterous melodrama riddled with clichés, stereotypes, bad dialogue, and inept emotional manipulation.
  20. The result is like an issue of National Geographic gone mad.
    • 42 Metascore
    • 38 Reviewed by
      Ty Burr
    As history it's bunk; as inappropriate historical fiction, it's awfully close to comedy.
  21. It's two hours of slumming in a vision of hell hatched from bourgeois comfort. That, and not its unsavory subject matter, is what makes it bummer theater.
    • 60 Metascore
    • 38 Critic Score
    A desperate, cynical self-parody.
    • Boston Globe
  22. Boring, mediocre movie.
    • 62 Metascore
    • 38 Reviewed by
      Ty Burr
    Despite a frisky soundtrack that starts off with James Brown’s “Sex Machine” — trust me, it’s downhill from there — this is the visual equivalent of Muzak. You don’t have to see it to have seen it.
  23. Serves up a silly story and clunky dialogue that gets better than it deserves from Jennifer Aspen as Lenny's would-be girlfriend.
    • 30 Metascore
    • 38 Reviewed by
      Ty Burr
    JUST worth your children's time, and hardly worth yours.
    • 33 Metascore
    • 38 Reviewed by
      Ty Burr
    The feel-bad movie of the summer.
    • 49 Metascore
    • 38 Reviewed by
      Ty Burr
    There's a great movie somewhere in The Good German, but it's buried under three tons of run-amok formalism.
  24. Though Zefferelli’s version was trashy and downright nuts, at least it made you feel the love. This pallid replay just seems endless.
    • 48 Metascore
    • 38 Reviewed by
      Ty Burr
    She's like Bob Hope with fake breasts and a wig. Now, that's scary.
    • 59 Metascore
    • 38 Critic Score
    As blandly lucid as Barney's is wildly and perplexingly imaginative.
    • 34 Metascore
    • 38 Reviewed by
      Ty Burr
    Bewitched presents a phony and cynical look at how Hollywood might make or remake a television show. It's as grating, laughless, and narcissistic (though, to its credit, not as cruel) as that new Lisa Kudrow show-within-a-show-within-a-show, "The Comeback."
    • 38 Metascore
    • 38 Reviewed by
      Ty Burr
    And So It Goes looks like it was shot on outdated video equipment and has a forced, jokey script by Mark Andrus (”As Good As It Gets,” “Georgia Rule”).
    • 57 Metascore
    • 38 Reviewed by
      Ty Burr
    I could pile on the cooking metaphors until you cried "uncle," but the fact remains that there's a very good movie in here that its makers have failed to bring off.
    • 30 Metascore
    • 38 Reviewed by
      Ty Burr
    The movie's cleverest idea is to give the Octopus identical clone henchmen with names like Phobos, Logos, and Huevos, all played by Louis Lombardi with a marvelous fat-boy idiot grin.
  25. Never achieves the exhilarating feat of exemplifying the types of Hollywood movies it wants to unpack.
    • 66 Metascore
    • 38 Reviewed by
      Ty Burr
    Sure, go ahead and take the kids. But, for pity's sake, read them the book first.
  26. Swing Vote is a satire that's afraid to satirize.
    • 30 Metascore
    • 38 Reviewed by
      Ty Burr
    Has the distinction of being much dumber and pulpier than the comic book on which it's based -- the ink practically comes off on your fingers as you watch it.
  27. The biggest problem, ironically, is that even though the plot and the action center on smoking pot, it's not enough of a stoner flick. The concept of getting stoned isn't amusing; watching stoned people is.
    • Boston Globe
  28. The cast does capable work, but you’ll wish the movie concentrated more on the comedy, which has some zing, rather than the straighter elements, which quickly start to drag.
  29. It's doom that we're meant to feel here. And repulsion. I hate to say, but I shrugged.
  30. Like so many of these farm-raised films, this one looks polished, but takes no risks, offers no surprises, and contains a final sequence that's laughable for its lack of courage.
    • 48 Metascore
    • 38 Reviewed by
      Ty Burr
    Where "Nemo" was clever, soulful, and marvelous to look at, "Tale" is manic and surprisingly ugly, with a script that leans on the shallowest aspects of hip-hop street cred while pimping for corporate product placement at every turn.
  31. Except for a few coups de style, Amateur is a screenful of cool nothingness. [05 May 1995]
    • Boston Globe
  32. Isn't even worth a glance.
  33. There is much to learn from Picasso and Braque Go to the Movies. First, a wealth of sharp professorial minds and great artistic eyes is no guarantee of equivalent documentary moviemaking. Second, when making a sort of thesis statement, it helps to have a thesis.
  34. An overwrought story of American politics and image-making that really only gets interesting in the final act.
  35. Rambo isn't dull. It is, however, often murkily directed, a real shortcoming in an action movie. In the big rescue-the-prisoners sequence, it's very hard to keep track of who is doing what to whom where.
  36. You could cast this movie with potato chips and still get cheers when one of the bad guys is cuffed. It doesn't matter that none of it is to be believed.
  37. If only there were more genuine rah-rah fun involved, instead of just endless, thudding, seen-it-all-before mayhem.
  38. It’s a fascinating story: part genetic mystery, part socio-racial tragedy. However, Laing’s life, despite its inherent melodrama, does not automatically lend itself to the screen.
    • 53 Metascore
    • 38 Critic Score
    If you are a devotee of sleaze, you'll salivate at the prospect of Mau Mau Sex Sex, a fond and fawning look back at exploitation, or grindhouse, movies from the 1930s through the 1960s.
  39. Takes a vacation from quality.
    • 37 Metascore
    • 38 Critic Score
    The music and the stars aren't enough to save the movie.
    • 32 Metascore
    • 38 Reviewed by
      Ty Burr
    Genially terrible, Lost is lazy, sloppy multiplex filler, good for a few solid giggles and not much more.
    • 36 Metascore
    • 38 Reviewed by
      Ty Burr
    Abandon is this CLOSE to being good, juicy, bad-movie fun.
  40. Consumerism is running more amok than ever, but this satire of it isn't.
  41. The Korean documentary Planet of Snail is spare and unemphatic - too much so - with an abiding sweetness of spirit.
  42. Watching the movie made me long for the big , risky ideas and entertainingly fearless filmmaking in David O. Russell's "I Heart Huckabees " and Spike Jonze's "Adaptation ," which Kaufman wrote. Both were similarly conceptual escapades, but they let it all hang out.
    • 33 Metascore
    • 38 Reviewed by
      Ty Burr
    Watching the movie is a little like picking up issue #42 of a comic book after you've skipped the first 41: There's an entire back story mythos hovering in the background like a phantom limb.
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    Jarmusch has come up with a dud.
  43. Underdog! Rest assured, there is no superhero cliche left unchewed; they even manage to slide in a "Lady and the Tramp" homage while they're at it.
    • 25 Metascore
    • 38 Critic Score
    Shamelessly exploits the horror of domestic violence for melodramatic, cheap thrills.
    • 39 Metascore
    • 38 Reviewed by
      Ty Burr
    You'll come away from Legendary with no sense of what amateur wrestling is about.
  44. Awful in ways that are just clever enough often enough to make it intermittently watchable.
  45. It is all style and no substance.
    • Boston Globe
  46. The first step in getting beyond preaching to the converted is letting the other side show how wrong it might be.
  47. The secret here is that the movie is rather tasteless. It has the high, slightly nauseating stink of perfume on garbage.
    • 64 Metascore
    • 38 Reviewed by
      Ty Burr
    Regrettably, it’s terrible poetry: a roughly chronological jumble of archival footage, unconvincing period reenactments, gauzy voice-overs, and half-baked ideas that makes one yearn for the stolid dullness of a History Channel documentary.
  48. The movie is a work of ambivalence. Is English making fun of these women? Or is she making a pilot for Lifetime?
    • 41 Metascore
    • 38 Reviewed by
      Ty Burr
    The general consensus on this one: Rats.
    • 50 Metascore
    • 38 Reviewed by
      Ty Burr
    Sometimes a cute-stalker movie can win the audience's heart. Management only makes you ponder the line between true love and a restraining order.
  49. Good Deeds is the first of the 11 movies he's written and directed to try a one-tone-fits-all approach. Sadly, that tone is funereal, and it's always a beat out of step with the rhythms of both real life and most movies.
    • 44 Metascore
    • 38 Reviewed by
      Ty Burr
    A grimly preposterous serial-killer thriller set in 19th-century Baltimore, this riff on the final days of the author of "The Tell-Tale Heart" and other masterpieces of the macabre might qualify as literary desecration if it weren't so silly.
  50. A lot of striking pictures in this would-be feminist "Braveheart," but a film that's pretty flat and earthbound because of the limitations of the figure at its center.
    • 54 Metascore
    • 38 Reviewed by
      Ty Burr
    If ever a movie were lost in translation, it’s Mood Indigo, the latest from the scattershot genius Michel Gondry (“Eternal Sunshine of the Spotless Mind,” “The Science of Sleep”). With his penchant for sad-sack dreamers and gonzo visual gags, Gondry can make a director like Wes Anderson look like a prig, and “Mood” allows him freer access to his fancy than usual.
    • 40 Metascore
    • 38 Reviewed by
      Ty Burr
    The film's biggest miracle is the straight face Nick Nolte maintains in his role as Socrates.
  51. Though not everyone agrees, Ben Stiller’s “The Secret Life of Walter Mitty” came close to finding the secret for making a movie about the secret of happiness. Peter Chelsom’s Hector and the Search for Happiness tries hard, but fails. Miserably.
    • 55 Metascore
    • 38 Reviewed by
      Ty Burr
    It’s been a while since there’s been this much dead air onscreen; over and over, Smith sets up a sequence, lets his actors shpritz, and stands by as the energy fades into giggly catatonia.
    • 35 Metascore
    • 38 Critic Score
    A movie where the miracles -- and treacly moments -- keep topping each other.
  52. Watching Granger and Priya chase each other around a hotel like squirrels in a park, you wonder what these two see in each other.
  53. Meretricious without being entertaining, it's an easy game -- and an easier film -- to sit out.
    • Boston Globe

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