The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,662 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 M. Butterfly
Lowest review score: 0 Another 48 Hrs.
Score distribution:
3,662 movie reviews
  1. Certainly, this imagineered version of P.L. Travers’s life provides an orderly drama, but it’s uncomfortably reductive. It may be a small world, after all, but it comes in a lot more shades than Saving Mr. Banks suggests.
    • 43 Metascore
    • 50 Critic Score
    Not much room for controversy here, and certainly none for counterargument, this is prime-time TV history rendered as a soothing, Papa Bear bedtime story.
  2. Unfortunately, this reverent and old-fashioned biopic is a prime example of the kind of inspirational movie that is, itself, uninspired.
  3. This entry has been described as a “cousin” to the other movies. Specifically, The Marked Ones is a Hispanic cousin, customized for Latino audiences in the United States where the series is particularly popular.
  4. Although a couple of performances here may earn Oscar nominations, by the time you’ve sat through the wreckage, you’re left with the sense that this really must have worked better onstage.
    • 36 Metascore
    • 50 Critic Score
    The Nut Job has a certain lo-fi charm, but it’s hardly a world-beater; with all due respect to Surly, Rocky J. Squirrel’s place in the pantheon would seem to be safe for another 50 years.
  5. Like its characters, That Awkward Moment has commitment issues: It lacks the courage of its bad taste.
  6. I can’t pardon Labor Day’s mush, not just because it’s mush, but because it comes with an unappetizing side order of condescension and contempt.
    • 63 Metascore
    • 50 Critic Score
    As it glides along from one pretty picture to the next, Visitors starts to feel less like a singular artistic gesture than a compendium of quasi-experimental film clichés.
  7. By the film’s end, one can’t help thinking that the story would be better served by a well-researched documentary on the real-life MFAA division (monuments, fine arts and archives.)
  8. 3 Days to Kill is a comic variation on the "Taken" movies, which Besson also co-wrote and produced, starring Liam Neeson as a daughter-rescuing spy.
  9. No doubt the audiences in the Coliseum would offer a thumbs-up to the scale of the destruction, though even they might have had some quibbles about the special effects, which, too often, resemble a very large pile of melting crayons.
    • 37 Metascore
    • 50 Critic Score
    So yes, if you’ve seen "The Bible," you’ve already seen most of Son of God – but if there’s one story where spoilers just don’t apply, it’s the Greatest One Ever Told.
  10. Overall, Stalingrad is a bizarre concoction, part Putin-era patriotic chest-thumping and part creaky war melodrama, all set in a superbly recreated ruined city.
  11. As is often the case in these caper flicks, there’s too much plot for insufficient dramatic effect, and alert viewers will suss out where it’s all heading in the first five minutes.
  12. Every stage of the race and chase is announced on a webcast conducted by the secret impresario of the illegal De Leon race, a billionaire car enthusiast known as the Monarch, who “nobody knows.” Actually, the Monarch is clearly visible in a corner of the computer screen and he’s played, with jive-spouting brio by Michael Keaton. Hey, the movie isn’t called Need for Logic.
  13. At almost 21/2 hours, Divergent is repetitiously brutal and drab, with sets that resemble warehouses and industrial junkyards; the action rarely emerges into the daylight before the climactic gun battle.
    • 56 Metascore
    • 50 Critic Score
    The gradual ramping up of both the camera calisthenics and the gore quotient suggests a movie that’s been very deliberately paced, but that doesn’t mean that Afflicted really gets anywhere, except back to the very basics its state-of-the-art presentation is supposed to transcend.
    • 54 Metascore
    • 50 Critic Score
    There’s plenty of shimmying here, maybe too much, and lots of spin moves, but it’s missing on-the-field results.
  14. The movie is no religious fringe event. It’s from a major studio (Sony), with an Oscar-nominated star (Greg Kinnear), adapted for the screen by "Braveheart" screenwriter Randall Wallace.
    • 76 Metascore
    • 50 Critic Score
    Watching De Clercq dance is not only what Nancy Buirski’s uneven documentary does to best effect, it helps you understand the movie’s otherwise restrictive emphasis on the men who became obsessed by her, primarily her discoverer and husband George Balanchine and the dancer/choreographer Jerome Robbins.
  15. This briefly inspired bit of surreality quickly descends into gratuitous bondage, mayhem and dumb humour, marking the usual progression from mildly absurd premise to gratingly idiotic conclusion.
  16. The problem with the taboo-busters is that they feel calculated - in the past, Lynch's creepiness seemed casual and natural - and they take Wild at Heart so high it can't come down; the picture repeatedly jacks itself into frenzy only to crash into lethargy.
  17. Other than a few gratuitous montage sequences, plus a patently clumsy echo of the shopping scene in "Pretty Woman," Marshall refuses to pull his share of the load, forcing his beleaguered cast to fend for themselves.
  18. Though Lillard's excitable tone keeps promising wild comic adventures, the sequences are uniformly flat and humour-free.
  19. It's the sort of visual joke you would wince at in a 1940s movie; to see it nowadays, you're tempted to dismiss it as unintentional.
  20. Barely a chuckle in sight.
  21. Properly handled, any one of these characters could be made, just barely, believable. But here they simply go off, like rockets, exploding out of nowhere and racing across the screen, one after the other.
  22. There is no pleasure in watching a child suffer. Just embarrassment and a vague sense of shame. Watching Trapped simply makes us feel guilty.
  23. It's not really serious, not especially funny, and not noticeably scary. Strikeout.

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