The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,925 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Before Sunrise
Lowest review score: 0 Far and Away
Score distribution:
3,925 movie reviews
  1. There must be something about the thriller/horror genre that attracts writers with exactly the same dysfunctional tendencies: They're all great at the foreplay but keep on messing up the climax.
  2. Long, windy, diffuse in its message and blunt in its satire.
  3. Sad news for Bard watchers: Julie Taymor's adaptation of William Shakespeare's The Tempest is not such stuff as dreams are made on.
  4. If plot were oats, Wicker Park would choke a horse.
  5. Remember Pam? Lost in the Himalayas of big egos and overacting, she's the invisible character here. If they create a special Oscar for the most thankless part in an ensemble comedy, Teri Polo is a shoe-in.
  6. Memo to screenwriters cranking out murky existential thrillers: Do not have various characters repeat on several occasions: "I know this doesn't make any sense."
    • tbd Metascore
    • 50 Critic Score
    At once a departure from and a follower of teen-movie form, and the fact of the former almost forgives the fate of the latter.
  7. Quaid doesn't have much to work with, and so deflects the portrayal away from the mind toward the body – consistently giving the coot a hunched, pigeon-toed gait. Nice try, but that bird won't fly.
  8. No, there isn't anything wrong with comfort entertainment. Then She Found Me could have, should have been something special - a "Knocked Up" for weary boomers. The only hitch is that it isn't all that entertaining. Nor comforting for that matter.
  9. With his heavy features and grimacing shyness, Dante provides the best entertainment in Swimfan.
  10. Machete is a drinking man's "The Expendables."
  11. If the lines in the script were as keenly etched as the ones in her face, Keaton would have had something to work with. Instead, during an especially lovelorn sequence, she's asked to indulge in a crying montage so painfully extended that it has us in tears too -- weeping from embarrassment for her.
    • 44 Metascore
    • 50 Critic Score
    Undeniably funny in parts, but the salacious spark and brilliant pacing of the original is off.
  12. The tuneful melodies of their favourite band grace the soundtrack, but let's not confuse this with a rock 'n' roll movie -- the music is just the blank canvas awaiting the higher art of the gross-out.
  13. Tideland is the easiest of Gilliam's films to follow, yet the most disturbing to watch.
  14. By the end of the Stoked, the viewer is left with a lot of trivia about the history of skateboarding, and scant insight.
  15. The larger budget has given Scanners a high-gloss Hollywood look, the editing is occasionally elegant and the special effects, which consist mostly of imaginative ways of turning actors into meat, provoke from the audience the desired response ("Oh, yuk]"), but he is careful to keep the violence within currently accepted boundaries. [19 Jan 1981]
    • The Globe and Mail (Toronto)
  16. The children are engaging yet the script and direction are not, which leaves the thing to get all bogged down in its own derivative mechanics.
  17. Yes, the premise is delightful; no, the delight doesn't last.
  18. Manic with an itch.
  19. A ticket to terminal boredom.
  20. There just isn't the same zingy rapport. Seth Rogen's praying mantis and Jackie Chan's monkey have no more than a dozen lines between them. Even Jack Black's Po is more subdued.
  21. Certainly, whatever surgery the script doctors performed, it didn't take. The limp result is a picture that is epic in intention and Lilliputian everywhere else.
    • 45 Metascore
    • 50 Critic Score
    Exasperating and goofy documentary.
  22. Here, there's not much that's funny, there's too much that's too clever by half, and there's not a damn thing that's lively - this is a film about Life whose sin is its lifelessness.
  23. So Dead Snow fulfills one zombie-movie prerequisite. It's different.
  24. Epically fantastic would be a welcome change, although epically awful would at least keep the symmetry. Alas, epically bland will have to do.
    • 56 Metascore
    • 50 Critic Score
    For all of its intermittent, crowd-pleasing charm, oenophiles (and cinephiles, for that matter) might be better off putting their money toward a good bottle of Robert Mondavi.
  25. The mistake filmmakers Tucker and Epperlein (Gunner Palace) make here is assuming that fighters reveal their true characters in discussing their craft, when in fact just the opposite occurs.
  26. This thing's got more plot than an Alliance convention. Unfortunately (to extend the comparison), not a whole lot of it makes a lick of common sense.

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