The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,784 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: 59
Highest review score: 100 Another Year
Lowest review score: 0 A Haunted House 2
Score distribution:
3,784 movie reviews
  1. World-weariness is not really the energetic star's best driving gear. Nor are declarations of menace intended to identify Jack Reacher as a modern-day mythic avenger. When he tells an enemy, through his clenched choppers, "I mean to beat you to death and drink your blood from a boot," the effect is, unintentionally, popcorn-spitting funny. Talk about overreaching.
  2. The premise (and the promise) here, of course, is that, as the miles pass, the two will be as chalk is to cheese, oil to vinegar, an apple to an orange. And indeed this is what happens. Unfortunately, it's about the only thing that happens.
    • 58 Metascore
    • 50 Critic Score
    The initially cynical Naim suggests Tal's project is insignificant, nothing but a bottle of hope bobbing about in a sea of enmity – and so too this film.
  3. Promised Land is a low-budget effort, far too awkward and contrived a drama to change many hearts and minds.
  4. Parental Guidance is one of those intergenerational embarrassment comedies in the "Meet the Fockers" line, where children can enjoy seeing grown-ups looking ridiculous.
  5. The irony is worth noting: Back when it was really 1949, Hollywood made noir with teeth; this is nougat with pretensions.
  6. Director Walter Salles, who knows a thing or two about picaresque journeys – in "The MotorcycleDiaries," even in "Central Station" – does make an honest effort here.
  7. Performances, over all, are a mixed bag; Zeta-Jones does a fair, if incongruous, impersonation of a forties vamp, while Chandler and Pepper do well with limited screen time. As usual, Wright, as a Machiavellian police commissioner, transcends so-so-material to establish himself as the most complex character in the film.
    • 57 Metascore
    • 50 Critic Score
    The film's long middle section is basically "Paranormal Activity" sans that series' handicam aesthetic, as things go bump in the night and the grown-ups take forever to get their act together.
  8. If nothing else (and there isn't much else), Part III rises above the wholesale clutter of its immediate predecessor, then contents itself with settling into an easy commercial groove. What remains is amiable kid's stuff, as sweetly forgettable as an orange Popsicle on a summer's day. [25 May 1990, p.C4]
    • The Globe and Mail (Toronto)
  9. As flicks go, She's All That ain't very much. But as high-school flicks go, this thing is a trite classic. [29 Jan 1999, p.C3]
    • The Globe and Mail (Toronto)
  10. What promised to be a teen screwball comedy with a supernatural twist soon descends into special-effects overkill and camp acting from the overqualified supporting cast.
  11. To her credit, Nadda is a solid actors’ director – the performances here are competent even when the writing isn’t. The exception is South Africa which, although a logistically necessary shooting location, ain’t much of a thespian.
    • 40 Metascore
    • 50 Critic Score
    It is a film that skips the huge dance numbers but not the dewy closeups; a film that can countenance premarital sex and doesn’t end in a wedding, but dissolves into melodrama nonetheless.
  12. Certainty, then, is the watchword, and you can be certain of three things: There will be plenty of juvenile energy to power the vehicle; there will be a few mild chuckles en route; there will be no reason to remember the ride the instant it ends.
  13. Park is busy treating every frame like a runway model, dressing it up in self-conscious layers of cinematic haute couture. It’s gorgeous to gaze upon but otherwise dessicated – listless, juiceless and ultimately pointless. For all his exemplary camera work, there’s no motion, or emotion, in the picture.
  14. While it’s fine for a director to explore his childhood inspirations, you hope he would bring something a bit more personal to it. Instead, Jack the Giant Slayer, while well-crafted, feels entirely generic.
  15. Lewy’s script doesn’t cop out with any sentimental redemption, but neither does it establish why the self-destructive Lachlan deserves our sympathy.
  16. There are lively, compelling scenes, particularly in the first hour - Raimi has an indubitable talent for camp mayhem - but the picture escalates into absurdity and the last half hour, essentially a chase sequence, is marred by suprisingly cheesy special effects. [24 Aug. 1990]
    • The Globe and Mail (Toronto)
  17. For its last third, the entire thing gets a Frankensteinian head transplant, and turns into derivative serial-killer nonsense.
  18. For my first trick, allow me to write off an entire picture by merely affixing to the title a one-word contraction: The Incredible Burt Wonderstone isn’t. Please hold your applause.
  19. On the downside, Rosebraugh’s own film is too self-righteous and his attempts to play a humour-challenged, lightweight version of Michael Moore in front of the camera is a misfire. The climate-change deniers are comforting, though obviously wrong. Greedy Lying Bastards is grating, even if it’s right.
  20. Beverly Hills Cop II puts its mega-star through a medieval trial, an ordeal by dullness. Survive these surroundings, Eddie Murphy, and you must truly be one very funny guy. Well, Eddie survives, barely, and taking our cue straight from him, so do we, almost. [22 May 1987]
    • The Globe and Mail (Toronto)
  21. Aside from Jones’s broadly entertaining performance as the egotistical Supreme Commander, the movie, directed by Peter Webber (The Girl with the Pearl Earring), is a dud.
  22. There's an easy familiarity and charm in the creased, middle-aged faces of Nimoy, Shatner and DeForest Kelly (the perpetually irascible Dr. McCoy), all of whom now play their parts with an ever-present twinkle. Their behavior rarely has anything to do with the motives provided by the plot; rather, they wear their characters like old habits, as they boldly go where they've always gone before. [26 Nov. 1986, p.C5]
    • The Globe and Mail (Toronto)
    • 55 Metascore
    • 50 Critic Score
    For his feature film debut, Brandon Cronenberg has taken the decidedly uneasy route in more ways than one. First of all, Antiviral is a virtual panoply of high wooziness, replete with sweating, shakes, vomiting, rot-infected food and more needles piercing skin than rush hour at a free flu clinic.
  23. It’s just such a shining example of a dull studio comedy.
  24. The script’s occasional gestures toward making this an allegory of the failed American dream are extremely unconvincing in the context of a movie that revels in the excesses of macho culture while laughing at the hapless and stupid who can’t get it right.
  25. Upside Down is no more than one big-budget, gussied-up fairy tale – a topsy-turvy Romeo and Juliet.
    • 39 Metascore
    • 50 Critic Score
    As the middle part of a proposed trilogy, Tai Chi Hero may ultimately look better in light of its own sequel (which, based on the evidence here, will double-down on the steampunk stuff), but now, its pitched battle between silliness and solemnity feels like a split decision.

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