Boston Globe's Scores

For 6,073 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 20 Feet from Stardom
Lowest review score: 0 The Nutcracker
Score distribution:
6073 movie reviews
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    The movie looks great and sounds better, and its status as a pioneering work of cinematic eye candy seems secure. For one thing, it's hard to imagine ''Moulin Rouge'' without it. As a movie about recognizable human beings, however, One From the Heart remains a failure.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    The problem with Flash of Genius isn't that the subject is dull but that the movie is.
  1. The biggest problem with the documentary, besides the overexposure of its namesake, is length.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    This Equalizer is a brooding, brutal origin tale, one that starts well but steadily caves into genre clichés. It’s a B-movie sheep in A-movie clothing, acceptable meathead mayhem as long as you know what you’re paying for.
  2. You marvel all the more at Litondo's and Harris's performances, considering how much claptrap Ann Peacock's script requires them to put up with.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    The film squeezes out its feel-good messages like toothpaste from a tube.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    The only reason to see Leaving - and it's not a bad reason at all - is for the sight of Kristin Scott Thomas in a rare happy mood.
  3. The film gets stronger and more involving as the drama gets heavier and the couple’s rift grows.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    Like Jolie's public persona, Blood and Honey is both strong and headstrong, equally invested in grit and glamour with a hazy understanding of the line separating the two.
  4. Slickly directed by Joel Schumacher, who sees that each and every button in this unabashedly manipulative film is pushed hard, Falling Down could have been deeply disturbing if it weren't so cartoony, so determined to glibly escape the moral consequences of the vicarious white-rampage fantasies to which it caters. [26 Feb 1993, p.25]
    • Boston Globe
  5. A sequel that makes it clear that the outrageous antics of the first movie had a one-time-only charm.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    An unusual story and sharp talents have been put through the Disney family-film machinery and come out flattened into formula. It’s an average movie, and that isn’t bad — just average.
  6. American Violet feels less like life and unreasonably more like the movies.
  7. Some of this vigilante-fantasy misbehavior is wickedly funny.
  8. The film has a habit of cutting away from interviews for Maher's commentary during the drive to the next location. You can see him trying to work the car for a laugh.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    It’s a watchable disappointment that leaves mostly frustration in its wake.
  9. Is a man with Asperger’s boyfriend material? It’s difficult to determine how we wind up here, but it’s strange that a movie ostensibly about a man and his lack of social options left me depressed about a woman and hers.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    The movie looks great at least, and the cast includes such stalwarts of Italian cinema as Claudia Gerini and Pierfrancesco Favino.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    Doesn't have the gonzo wit of ''Re-Animator'' or ''Evil Dead 2,'' nor is it flat-out terrifying like ''The Texas Chainsaw Massacre'' or even a zombie-come-lately like this year's ''28 Days Later.''
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    Race wants so badly to get every last bit of the big picture that it dashes past the little details that actually tell a story. Like an over-trained athlete who pulls a hamstring in the big race, the movie tries to do it all and comes up short.
  10. The crime of The Chorus isn't that it's corny. (I like corny.) It's that its corniness seems programmed.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    The movie has a pleasing skinned-knee innocence that makes you wish everything else about it wasn't so shoddy.
  11. Will miracles never cease? Alas, they do. Pausing pregnantly between clauses to add to their trite profundity, Quentin recites the moral of the story, and it’s as phony as the towns of the title.
  12. As a performer, Murray moves through the film with a lovely doomed aplomb. And his quick verbal wit is almost enough to pull Quick Change off. But as a director, his inexperience costs him. His camera isn't as quick as his tongue. [13 Jul 1990, p.29]
    • Boston Globe
  13. Date Night manages to live down to its store-brand title.
  14. Everybody in the movie is so tightly wound that Walters seems a model of actorly limberness. She cuts through the movie with speed and mannish, zany wit.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    What you might call conditional whimsy, predicated on the audience overlooking so many plot implausibilities that it might get tuckered out from all the charity.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    To truly appreciate Wagner & Me, a BBC documentary getting a spotty theatrical release in this country, you have to cherish the music of Richard Wagner with the same quivering intensity as host Stephen Fry.
  15. You’ll have to appreciate what fleeting cleverness you can here.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    Most useful and enlightening as a historical tour through the major crises of the Kennedy administration.

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