Boxoffice Magazine's Scores

  • Movies
For 985 reviews, this publication has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Artist
Lowest review score: 0 Date Night
Score distribution:
  1. Negative: 83 out of 985
985 movie reviews
  1. A feast for the eyes, Mysteries of Lisbon deals with 19th century passions, love affairs and escapades on a broad canvas. It might have made a lovely TV series, parsed out over several weeks, but at one sitting it's a challenge.
  2. The melodrama is tiresome, overwrought and clich├ęd.
  3. Sadly, the documentary just doesn't have enough coherent passages to make anything about this now seemingly ancient journey compelling for contemporary audiences.
  4. A chick flick for do-gooders, The Help suffers from a malady common to the discrimination drama: its treatment of inequality is more condescending than the prejudice it aims to remedy.
    • 36 Metascore
    • 40 Critic Score
    The bigger problem is that the action literally bleeds together and there's no sense of pacing.
  5. Garbus' over-reliance on interviews that state rather than dramatize Fischer's excellence makes this a portrait that too often seems more overheard than inhabited.
    • 45 Metascore
    • 40 Critic Score
    If Peckinpah's original was a rotten plank spiked with rusty nails, Rod Lurie's redo is something closer to a nicely carved Louisville Slugger.
    • 54 Metascore
    • 40 Critic Score
    Puncture is rarely more convincing than the usual legal saga.
  6. Leigh certainly has a sense of cinematic style and Emily Browning possesses a fragile beauty that hides a remarkably resilient interior. It's a pity, however, that Jane Campion did not exert a more powerful sway on the result.
  7. As tales of troubled families go, it may have aspirations to be like "Ordinary People," but it falls way short.
    • 65 Metascore
    • 40 Critic Score
    The results are perfunctory, lugubrious and historically questionable.
    • 49 Metascore
    • 40 Critic Score
    Offers audiences a similar-but-not-the-same mix of effects, existentialism and creepy body horror while forgetting the things like character, humor and tension that made Carpenter's take on the same material so memorable past the initial fearsome fluid flesh sequences.
    • 60 Metascore
    • 40 Critic Score
    Segal's film tries to straddle the line between darkly funny and just plain dark, but even with a game cast and an offbeat premise, Norman is a disquieting outing with little in the way of honest payoff.
  8. The second half, though, simply descends into chaotic banality as the sisters await their fate.
    • 37 Metascore
    • 40 Critic Score
    Too silly to be confusing and too flaccid to reach potboiler status, the convoluted spy-thriller The Double is a tossed-off theatrical release that lands with a resounding thud.
  9. Void of subtlety and the gritty realism that's trademark for many Sundance dramas, Another Happy Day, from Mandalay Vision, may fail to win over many critics due to its histrionic storytelling.
  10. Jack and Jill is a barrage of fart jokes and fat jokes and mean jokes that sincerely thinks it deserves to end with a hug. It doesn't deserve awwwws - and it doesn't deserve your money.
    • 45 Metascore
    • 40 Critic Score
    Sex and abortion are the main topics of this installment, which tips between dullness and total camp.
    • 58 Metascore
    • 40 Critic Score
    An uneven mix of middle-age anxiety and family comedy.
  11. Even with a big name cast that includes three Oscar winners - Halle Berry, Robert De Niro and Hilary Swank - New Year's Eve is at best a pleasant diversion.
  12. Director Steven Spielberg doesn't have a steady grip on War Horse's careening tone, but he'll be damned if there's not 15 minutes in there for everyone.
    • 56 Metascore
    • 40 Critic Score
    A thing of endless contrivances. Jolie's phony plotting and graphic depictions of sexual assault and murder are transparent attempts to bluntly convey the war's atrocities.
  13. The mother/daughter drama should have played a bigger part in this film as the 87-minute runtime passes quickly and leaves us feeling utterly short-changed.
    • 64 Metascore
    • 40 Critic Score
    This is admirably ambitious, but Carnahan's not nearly good enough a writer or director to pull it off: the results are portentous, muddled and not nearly as entertaining as Neeson's usual face-punching antics.
    • 62 Metascore
    • 40 Critic Score
    A credible suspense story with a surprisingly bold ending, The Woman In Black is a solid step away from Harry Potter for star Daniel Radcliffe - while it, too, is British and fantastical, the tone is sinister, adult and bleak.
    • 43 Metascore
    • 40 Critic Score
    The Vow proves that love can't conquer bad writing.
    • 40 Metascore
    • 40 Critic Score
    Shows remarkable access to military materials and personnel but, as a film, is unremarkable every other way.
    • 36 Metascore
    • 40 Critic Score
    Gone starts off as a character study about a woman struggling to regain control of her world in the wake of a horribly intrusive event, but that sort of thing doesn't make for a fun night at the movies, so it quickly concedes to a Hitchcockian "wrong woman" riff, in which sexually motivated abduction serves as the worst MacGuffin in movie history.
  14. The film's strength isn't its shock tactics - it's the rapid-fire, party montage editing that finds a million natural ways to put mundane actions and moments up against each other for comic effect.
    • 49 Metascore
    • 40 Critic Score
    Silent House is undeniably built on its "one-shot, real-time" gimmick. And while it works reasonably well - especially in the first half of the film - it's still just a gimmick trying to gussy up a common horror flick.

Top Trailers