Boston Globe's Scores

For 5,368 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 0.7 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:
5,368 movie reviews
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    A gracefully subtle metaphor about life's Deep Magic has become a war film; what was a one-chapter battle toward the end of the book is now a ripsnorting Armageddon that looks like something Hieronymus Bosch might dream up after a heavy meal.
  1. While it preserves his baseball feats, it looks beyond them to clarify Greenberg's place in American culture.
  2. The triumph of La Cienaga lies in Martel's way of fashioning the kind of ensemble performance that draws us in by convincing us we're watching behavior, not acting.
  3. The intriguing subject, unfortunately, collapses under too many talky scenes of the samurai discussing their feelings and gossiping about who loves whom.
    • Boston Globe
    • 75 Metascore
    • 75 Critic Score
    Director Scott Hamilton Kennedy finally gives us a reason to feel warm and fuzzy about Compton, Calif. It's not an easy feat.
  4. Good clean dirty fun.
  5. A collection of beautifully acted encounters, conversations, symbols, and vignettes woven into an evocative and unforgettably surreal garment.
    • 75 Metascore
    • 88 Reviewed by
      Ty Burr
    Sloppily made at times and it comes close to wearing out its welcome, but you can't blame Walker for not wanting to let his subjects go. And as the movie progresses, a viewer begins to understand why: These people are literally singing for their lives.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    You can feel the actors tossing energy, one-liners, and limbs off each other with gusto.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    Walking a line between droll comedy and a darker, more unsettling drama that the filmmakers aren’t quite up to, Frank is an entertaining curio with flashes of inspiration. That’s also a pretty good description of Frank’s music.
  6. In some ways Easy Money recalls Steven Soderbergh's "Traffic." They have drug dealing in common, of course, but also a sense of constant swirl and density of onscreen population.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    The movie’s never less than entertaining, but you often feel like arguing with the screen, and not in a good way.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    It's fast, lean, satisfying, and forgettable; nothing special, really, until you realize that the movies have largely lost the knack for brisk mayhem like this.
  7. As wonderful as Testud is, her character doesn't make much sense.
  8. There's the air of sadness and worry all over this movie, and sometimes it's heavy. But it's air all the same.
  9. Part Marxist social drama and part Michael Moore corporation-needling, with fed-up residents trying to outsmart the big, bad naive company to keep their lights on for free.
  10. Related with stolid majesty, with long shots of brooding landscapes and close-ups of opaque faces, the film provides poor preparation for the subversion of genre conventions to follow.
    • 75 Metascore
    • 88 Reviewed by
      Ty Burr
    In a way, Howard has made a philosophical drama about the way men move through the world. It’s just a really, really fast drama.
  11. It just feels like playacting.
  12. Boy A comes frustratingly close to succeeding as tragedy.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    As pointedly as The Punk Singer looks at the past, the movie’s uncertain where the energy of that original moment has gone. Where are the riot-grrrls of today? Take your daughters to the movie, then ask them.
    • 75 Metascore
    • 50 Critic Score
    An Officer and a Gentleman has so many echoes that it never finds its own voice. [29 Jul 1982]
    • Boston Globe
  13. Risky Business is the sleeper of the summer. It's a refreshing change from the usual dumb teenage ripoffs, the slickest American film since "Trading Places" and "War Games," and a strong directorial debut for Paul Brickman, who knows his way around teen fantasies. [05 Aug 1983]
    • Boston Globe
    • 75 Metascore
    • 88 Reviewed by
      Ty Burr
    Ends on a note of triumphant populism, but the film’s bitter aftertaste hints that when we ignore the details, we only ensure they’ll be repeated.
    • 75 Metascore
    • 88 Reviewed by
      Ty Burr
    If The Trip to Italy begins shakily, it ends with expansive bliss, a father and son reconnecting off the shores of Capri as Gustav Mahler’s art song “Ich Bin Der Welt Abhanden Gekommen (I Am Lost to the World)” sends everyone heart-stoppingly home.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    A documentary lovingly and somewhat shambolically directed by James D. Cooper, gives the duo their due and in so doing opens up a singular view on an era, its energy, and its excesses. For fans, it’s a must-see; for others, a slightly overlong tour of a seminal pop explosion and the men who made it.
  14. In short, Almodovar opens some new doors to his artists here, and they respond in surprising, captivating ways. [29 Mar 1996]
    • Boston Globe
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    A chick flick of a particularly intelligent, ruthless, and loving sort.
  15. It's a snazzy, smartly made, and even hip little scarefest. As a jump-start to Halloween, it's all you could hope for.
    • Boston Globe
  16. This intimate, warmly made family portrait always feels true. The performances are particularly good.

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