The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,766 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 Eyes Wide Shut
Lowest review score: 0 The Adventures of Baron Munchausen
Score distribution:
3,766 movie reviews
  1. So, fans, gear up for rock-em-sock-em action, yet don’t be disappointed if much of the goonery seems a bit tepid and, dare I say, staged.
  2. Though by no means a good movie, The Internship floats along for fairly well for about half its length, thanks to the easy interplay between the two stars and a certain melancholic topicality.
  3. Unfortunately, The East is not a very good movie, hobbled by an excess of plot, a lack of believability and big gaps of logic.
  4. Emmerich succeeds only in making his previous venture, the marginal Stargate, look positively inspired by comparison.
  5. Magic it ain't, but competent isn't far off the mark. Neither is hum-drum. [28 Oct 1994]
    • The Globe and Mail (Toronto)
  6. If this were funny, The Heat would add up to your average buddy-cop comedy. Except that it’s not funny, at least not very and not often.
  7. Formula action films don’t come much more formulaic that this.
  8. Eccentric and misguided enough to be almost perversely fascinating, the film doesn’t lack nerve; it’s just not very good.
  9. Exuberantly campy.
  10. Like "Little Miss Sunshine," the movie stars Toni Collette and Steve Carell in a story about a dysfunctional family trip, though like "Adventureland," it’s really about a teenager finding acceptance at a local theme park.
    • 19 Metascore
    • 50 Critic Score
    Like its predecessor, Grown Ups 2 is proudly retrograde, both in its relentless deluge of toilet humour and the way it bear-hugs some good old-fashioned conservative values.
  11. Pandora’s Promise is less an exploration of the subject than a well-constructed sales pitch.
  12. The film is primarily an excuse for Chase to demonstrate that though he may be a movie star he has yet to learn how to create, let alone sustain, a character, and for director Harold (Caddyshack) Ramis and screenwriter John (National Lampoon's Class Reunion) Hughes to demonstrate that some movie stars get the colleagues they deserve. [2 Aug 1983]
    • The Globe and Mail (Toronto)
  13. There’s a scene in a members-only club where Wyatt and Goddard meet, giving the two veteran actors the chance to go eyeball to eyeball for a couple of minutes of barbed dialogue. It almost makes the movie worth it.
  14. If Jobs had been a producer on Jobs, he would have sent it back to the lab for a redesign.
    • 51 Metascore
    • 50 Critic Score
    Sadly, the movie’s lack of a clear identity – is it a thriller, soap, legal drama or action chase movie? – makes it difficult to understand why anyone should care.
    • 23 Metascore
    • 50 Critic Score
    By the time the movie actually arrives at its finest moment – a nearly two-minute single shot from the Mustang’s hood as it chases the villain’s van through dense traffic – you’ve become so numb to speed and sensation that you may barely notice.
  15. Winnie begins as hagiography and ends in hellish confusion.
  16. Continuing directly from where 2010’s "Insidious" left off, Insidious: Chapter 2 follows the further misfortunes of the Lambert family with diminishing insidious rewards.
  17. An ambitious, if uneven, experimental sci-fi romance that is less a thought-provoker than a dazzling juggling act.
  18. The 3-D is a pain, and the excitable editing, slo-mo and speeded-up action frustrate attempts to watch the athleticism on display, but the last half-hour takes it up a notch.
    • 59 Metascore
    • 50 Critic Score
    Unfortunately, the film promises more fun and laughs than it delivers, and this meal tastes like too many that have gone before it.
  19. Otherwise, Brody, Scott and Jenifer Lewis (as Montana’s imperious oft-married mom) give this formulaic material maximum comic spin.
  20. Occasionally, the cast rises above the material.
  21. Thanks for Sharing might best be described as being like Steve McQueen’s sex-addiction drama, "Shame," if it were rewritten by Neil Simon at his most schmaltzy.
  22. The film, shot in black-and-white at canted angles, suggests an R-rated Twilight Zone episode with a twist of Fellini-lite, in a trite film school kind of way. Mickey Mouse is unlikely to be shaking in his big yellow shoes.
  23. The movie is a preholiday trifle that’s mildly risqué and a lot sentimental.
    • 52 Metascore
    • 50 Critic Score
    Ambitious but generic martial-arts movie.
  24. There are the usual gaggle of embarrassing friends, a lot of voice-over and montages, a wedding, a funeral and wait … something’s missing. Oh, right. Hugh Grant.
  25. Directed by Brian Percival, best known for his work on "Downton Abbey," the film has the similar quality of a well-appointed historical soap opera.

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