The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,826 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Child
Lowest review score: 0 The Adventures of Baron Munchausen
Score distribution:
3,826 movie reviews
  1. 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.
  2. 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.
  3. 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.
    • 62 Metascore
    • 50 Critic Score
    Godzilla – both the movie and the big guy – is otherwise something of a lumpy, lumbering great beast of a thing, lurching from city to city, continent to continent, smackdown to smackdown and plot point to plot point with singularly graceless indifference to anything other than those take-home jaw-dropper shots.
    • 56 Metascore
    • 50 Critic Score
    Unfortunately, For No Good Reason sidelines Steadman’s own bona fides, functioning primarily as a second-hand documentary of Thompson, stoking the hagiography of the late hipster icon.
    • 31 Metascore
    • 50 Critic Score
    The movie offers nothing new or special, but at least it isn’t as painful as watching Sandler walk Al Pacino through a Dunkin’ Donuts rap.
    • 44 Metascore
    • 50 Critic Score
    The Love Punch feels like a remake of an old MGM caper comedy. It’s not, but it feels that way, which will certainly set it apart from the Disney villains, X-people and radioactive sea monsters of the summer movie schedule.
    • 69 Metascore
    • 50 Critic Score
    Fault is at heart a full-throttle, by-the-numbers tearjerker.
    • 50 Metascore
    • 50 Critic Score
    Just as the promising parody of prison films begins to catch fire, Friedman and Poitier douse it with a bucketful of realism. [13 Dec 1980]
    • The Globe and Mail (Toronto)
  4. Director Peter Hyams strives hard to maintain a light and entertaining touch, lifting Timecop slightly above its formulaic restraints. On the one hand, there's a pleasing freshness to the movie, thanks to lots of energy and a little playful wit. On the other, there's something deeply fatiguing about this picture. Maybe it's the formula, maybe it's all that time travel, but you just can't help thinking you've seen it all before. Must be deja vu. [21 Sep 1994]
    • The Globe and Mail (Toronto)
    • 75 Metascore
    • 50 Critic Score
    In truth, despite its honesty, this is a flawed little film, its low comedy never funny enough to justify its crudeness.
    • 60 Metascore
    • 50 Critic Score
    Poehler’s Parks and Rec co-star Adam Scott is there, playing a sound engineer and so is John Stamos from "Full House," because, you know, that’s funny. Until it’s tiresome.
    • 39 Metascore
    • 50 Critic Score
    As a script it is uneven and tonally inconsistent – best as a brainless, gross-out comedy, less successful when striving for emotional poignancy.
  5. Although the film and the actors keep on looking good, this solemn, soppy, fantasy has nothing to say about science or faith.
    • 38 Metascore
    • 50 Critic Score
    It’s a story where sex and being over 60 aren’t treated as mutual exclusives, which is pretty great in its own way.
  6. A Master Builder really doesn’t work, hampered by odd casting, theatrical performances and a reductive interpretation of Ibsen’s play.
    • 59 Metascore
    • 50 Critic Score
    There could be a fascinating and illuminating movie in this.
  7. 21 years later, in the wake of "The Hunger Games", "Divergent" and "The Lego Movie," another movie about a kid rebelling against socially imposed “sameness” is a case of the same old, same old.
  8. It’s less startling than it was when the first Sin City was released in 2005, maybe even quaint, like a black-light Jimi Hendrix poster from the ’60s.
    • 46 Metascore
    • 50 Critic Score
    If I Stay is true to principle in one significant regard: It makes no concessions to anyone outside its teenage female cohort.
    • 65 Metascore
    • 50 Critic Score
    Here’s a date movie that will neither cozily cheer you nor satisfyingly thrill you, but instead leave you scratching your head.
    • 41 Metascore
    • 50 Critic Score
    Jim Caviezel, as coach Ladouceur, doesn’t get much to work with, the script reducing the man to a two-dimensional motivational speaker awash in “there’s no I in Team” platitudes.
  9. The November Man is one of those thrillers that grows progressively more incoherent, and it simply isn’t fast enough to glide over its gaping narrative holes.
  10. Without a thin tether to credibility, this fussy, morbid fantasy simply slides off into the void.
  11. As with so many movies where the script constructs experiences that are contrived and off-putting, you hope the actors can capture the emotional truth of some scenes, even if the entire apparatus feels bogus.
  12. Director David Dobkin, best known for comedies such as "Shanghai Nights" and "Wedding Crashers," demonstrates his serious intent mostly by paint-by-numbers psychology and a ponderous pace.
  13. The movie’s compromised tone, wavering between emo introspection and rom-com cuteness, is awkward in all the wrong ways.

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