The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,840 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Hugo
Lowest review score: 0 A Haunted House 2
Score distribution:
3,840 movie reviews
    • 41 Metascore
    • 50 Critic Score
    Battleship has its moments, like the rare occasions when it nods to its origin: There's a nice eureka when we learn that evil alien ships can be outwitted, improbably, by plotting co-ordinates on a grid, à la your granddad's board game.
  1. About a third of the way along, there's a shocking revelation that definitely packs a punch. Problem is, it's followed by a near-immediate return to familiar narrative convention, where the noir ante rises exponentially toward a climax that arrives too hastily and ends too neatly.
  2. It's all rather wacky and hard to follow or fathom, although maybe that's attributable to Virginia's schizophrenia veering off on its delusional phase.
  3. Piranha 3DD is overcrowded and pointlessly mean. The stunt casting of David Hasselhoff playing himself, riffing off his infamous 2007 drunken home video, gets in the way of the storyline.
    • 50 Metascore
    • 50 Critic Score
    Lovely Molly is determined to remain ambiguous, but the title says it all. Good-Lookin' Joanie just wouldn't have the same ominous ring to it.
    • 42 Metascore
    • 50 Critic Score
    Crooked Arrows is no "Rocky." It lacks the emotional momentum required for that. But if it's just light, family-friendly entertainment you want, Crooked Arrows fits the bill.
  4. The clever lines and themes of friendship and finding home are almost completely overwhelmed here by the breathless pace and sensory overload.
  5. Where this PG-rated adaptation of a hit Broadway show, adapted by Adam Shankman falls down is by being far too mild for its supposedly outrageous subject.
  6. Lola Versus is all Greta all the time, a bonanza for fans and proof that Gerwig's easy offbeat charm, obvious smarts and physical comedy gifts can carry a film.
  7. So why does Savages feel so calculated, cutesy, free of suspense and trashy only in the uninteresting sense? No doubt, Stone is trying... but it all feels more like flexing atrophied muscles rather than creating a believable experience.
  8. 360
    To their credit, both Meirelles and his cast infuse as much realism into the artifice as they can muster, but it's not nearly enough. The too-neat script boxes them in, and leave us out. In that sense, 360 doesn't so much connect our shrunken world as strangle the life from it – the circle feels like a noose.
    • 36 Metascore
    • 50 Critic Score
    It works best when it doesn't take itself seriously, and some of the ways in which ESP is faked are briefly engaging, like short con games or magic tricks revealed. But, finally, the film doesn't offer the sense of release, or of surprise, that it seems to take for granted.
  9. Of course, the result is forgettable, but at least it's efficiently and breezily forgettable. What's more, there are laughs too and here's the best part – one or two of them are actually intentional.
  10. As anodyne as it is, Timothy Green may represent the last gasp of a genre, the live-action family fable, that has been an entertainment staple for a couple of generations of moviegoers.
    • 53 Metascore
    • 50 Critic Score
    There is a rich movie to be made about this culture of fake seers and gullible marks, but it isn't The Awakening, a dull British import that never lives up to the pretensions of its period setting.
  11. In what's meant to be a French take on "The Big Chill" - comedy meets pathos as friends gather at a country house in the wake of a tragedy - writer-director Guillaume Canet has wrought a meandering script that exercises everything except restraint.
  12. On the byways of any bustling metropolis, here is what the combination of bicycles + cars + pedestrians is certain to produce: (1) nasty accidents and (2) ferocious debates. More surprisingly, on the silver screen in Premium Rush, here is what the same combination fails to produce: a good action movie.
  13. It attempts to take local history of the illegal whisky trade and raise it to the level of myth.
    • 55 Metascore
    • 50 Critic Score
    Easily the daffiest movie you've ever seen that also references incestuous role-playing games.
    • 68 Metascore
    • 50 Critic Score
    It is hard to know whether to applaud directors David Redmon and Ashley Sabin for exposing the underside of the fashion business – or demand they abandon their documentarian stance and rescue young Nadya on the spot.
  14. For all the talent involved, The Eye of the Storm is an incident-stuffed but lacklustre affair – a case of lots of sturm, but not enough drang – that reaches for a satiric sting and emotional depth it never achieves.
    • 37 Metascore
    • 50 Critic Score
    The Words suggests that a story, whether true or not, can help get us through, if we believe it enough. Though this film can't quite pull it off, a good enough thief can get away with it.
  15. I doubt that Lawrence is conscious of this process. Nevertheless, stuck in a dull commercial feature, a very good actor happens upon a new solution to an age-old problem: She improves the script by transcending it, and steals the picture by abandoning it.
  16. As long as Chbosky sticks to the story of surviving high school, Perks has a modest charm. But a melodramatic last-act bombshell about Charlie's troubled past, is jarring – like the giant foot of Godzilla descending to squash tender Bambi. It's a case of too much, too late and, ultimately, from a different kind of movie.
  17. As a movie trying to make the case for parental management of the education process, Won't Back Down, doesn't make an entirely convincing case.
  18. Just a mediocre action franchise with a solid actor at the head and a travelogue in its heart.
  19. A mixed bag of old-school and contemporary horror tricks that occasionally raises a hair prickle of intrigue.
  20. A good-looking but anecdotally slight dramedy about life and lifestyles in Los Angeles's hip Silver Lake district.
  21. A farther-fetched fantasy: In addition to asking we believe our loosely packed academic can play Rocky, Here Comes the Boom imagines a world in which butterball Everyman Scott and the fabulously lush Bella (Salma Hayek) might argue and bill and coo and eventually fall in love.
  22. The Paperboy is southern Gothic wallowing in the swamp of low camp. And if the wallowing were deliberate, this might have been hugely funny.

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