Boston Globe's Scores

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For 6,940 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 lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Faces Places
Lowest review score: 0 The Devil Inside
Score distribution:
  1. Positive: 4,556 out of 6940
  2. Mixed: 1,357 out of 6940
  3. Negative: 1,027 out of 6940
6940 movie reviews
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    • 67 Metascore
    • 75 Reviewed by
      Ty Burr
    Mulan
    In the end, Mulan 2020 stands as an inspired oddity: A reenvisioned remake that improves on the original even as it owes everything to movies that have come before.
  2. Tenet
    Moviemaking doesn’t come any tauter or with more velocity. But that confusion is a warning. It’s going to apply to the entire movie; and the longer “Tenet” lasts, the more of an issue confusion becomes.
    • 91 Metascore
    • 88 Reviewed by
      Ty Burr
    Ghost Tropic
    Ghost Tropic is a slender 85 minutes, but it expands in your minds even as you watch it.
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    Bill & Ted Face the Music
    [A] sweet, dumb, unnecessary, and absurdly charming movie.
  5. Tesla
    A subplot involving Sarah Bernhardt (Rebecca Dayan) seems to have wandered in from another, less watchable movie. It might have been for the best if Eve Hewson, as J.P. Morgan’s daughter and Tesla’s sort-of love interest, had wandered out.
  6. The One and Only Ivan
    All the animals are computer-generated, not that you’d know it by looking at them. Their interactions with the human characters are seamless — and, it must be said, at times the animal characters come across as less cartoony than the human ones.
  7. Unhinged
    His Unhinged character is a pill-popping mouth breather with a sweaty beard and big, big gut. He combines the cruelty of a bear-baiter with the appearance of an actual bear. It’s kind of a neat trick, actually: the unbearable bearishness of Russell Crowe. If Disney goes the “Jungle Book” route again, consider him a lock for Baloo.
    • 51 Metascore
    • 50 Reviewed by
      Ty Burr
    Project Power
    Project Power is the kind of action/sci-fi bone-cruncher where the cast is better than the material, the characters are more interesting than the premise, and the dialogue chugs along in the middle. It’s on Netflix and is worth a few hours if you’re in a B-movie state of mind.
    • 84 Metascore
    • 100 Reviewed by
      Ty Burr
    Boys State
    I don’t know that I’ve seen a movie this year that simultaneously depressed the hell out of me and filled me with hope like Boys State.
    • 80 Metascore
    • 88 Reviewed by
      Ty Burr
    She Dies Tomorrow
    As the sensation of imminent doom spreads from character to character to character, She Dies Tomorrow takes shape as an allegory with just enough genre trimmings to keep us off balance.
    • 58 Metascore
    • 38 Reviewed by
      Ty Burr
    An American Pickle
    Among other things, An American Pickle is very, very Jewish, and a scene toward the end revolves around Ben finally joining a minyan to say the Mourner’s Kaddish. Better they should have said it for the movie.
  12. Made in Italy
    Along the way, good food is eaten, the scenery is fabulous, and when the son and a local woman meet cute she not only speaks excellent English but is gorgeous and endlessly understanding. There are some laughs. There are some tears. There’s even a little swearing. Made in Italy has been saddled with what must be the year’s least-deserved R rating.
    • 57 Metascore
    • 63 Reviewed by
      Ty Burr
    The Burnt Orange Heresy
    When a cast is assembled that is as elegantly depraved as the one in The Burnt Orange Heresy, attention must be paid. And this art-world thriller has enough burnished surfaces, glamorous locations, and dark doings to keep an audience rapt for much of the running time. Yet somehow you may end the movie feeling less full than when you began.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    Creem: America's Only Rock 'n' Roll Magazine
    The magazine changed hands a number of times before shuttering in 1989, but JJ Kramer now owns the brand and the archives and with this movie hopes to reintroduce them to a new generation. And why not? One thing about CREEM is that it always rises to the top.
    • 84 Metascore
    • 75 Reviewed by
      Ty Burr
    Black Is King
    Even when the meager story line falters — more on that in a bit — the music and visuals mesh into a dazzling whole.
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    Rebuilding Paradise
    Rebuilding Paradise is well worth seeing, but know that Howard’s taste for the upbeat keeps getting drowned out by a dire and dissonant doomsday drum.
  17. The Fight
    The lawyers in the film are compared to superheroes, to David and Goliath. But they know their efforts are not enough.
    • 56 Metascore
    • 63 Reviewed by
      Ty Burr
    Summerland
    Spectacular locations on the southeast coast of England and a handful of fine performances are the best that can be said for Summerland, but that’s still better than most.
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    Babysplitters
    The setup is ridiculous, but the playing is pure comedy of mortification and watch-through-your-fingers funny.
    • 71 Metascore
    • 50 Reviewed by
      Ty Burr
    Yes, God, Yes
    Flatly filmed, drably lit, and sluggishly paced, Yes, God, Yes takes a cheeky premise and slowly lets the air out of it.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    The Rental
    A solid entry in the real estate horror genre and an impressively taut feature directing debut for actor Dave Franco. Relying far more on psychology than bloodletting, the movie nevertheless exudes a growing sense of dread that’s difficult to shake.
    • 56 Metascore
    • 50 Reviewed by
      Ty Burr
    Radioactive
    Pike understands the woman she’s playing was a genius and that genius is rarely likable; her performance bristles with charismatic impatience.
    • 75 Metascore
    • 88 Reviewed by
      Ty Burr
    The Truth
    Using compassion and the slightest touch of syrup, Kore-eda brings his characters to a place where they realize with shock that they’re finally on the same page.
    • 47 Metascore
    • 38 Reviewed by
      Ty Burr
    The Sunlit Night
    Taken as a whole, The Sunlit Night is fey and inconclusive, and whether something of more substance got cut in the post-Sundance re-edit or was never there to begin with is at this point moot. The movie’s up a most beautiful creek without a paddle.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Palm Springs
    What makes the movie fly are the interlocking energies of its leading players, Andy Samberg and Cristin Milioti.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    Relic
    The movie is a steady, frightening depiction of a baton of awful knowledge being passed.
  27. The Old Guard
    As directed by Gina Prince-Bythewood, The Old Guard is assured and textureless: competence doing the work of inspiration. The movie is like an extended trailer for itself.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    Greyhound
    “Dunkirk” or “1917,” this is not. But as a window onto an under-acknowledged arena of combat and a starting point for armchair military historians, Greyhound is seaworthy enough to make it across.
    • 82 Metascore
    • 88 Reviewed by
      Ty Burr
    Bloody Nose, Empty Pockets
    Is Bloody Nose, Empty Pockets exploitative or enabling? On the contrary, it is friendly, clear-eyed, and wise — tender about our follies and unsentimental about where they lead us. A heap see but a few know, and the Ross brothers are among the chosen few.
  30. John Lewis: Good Trouble
    John Lewis: Good Trouble isn’t a great film, but it has a great subject — and excellent timing.
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