The Globe and Mail (Toronto)'s Scores

For 3,928 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 Face/Off
Lowest review score: 0 The Wedding Ringer
Score distribution:
3,928 movie reviews
  1. Brian and Dom could drive from L.A. to Mexico City and back blindfolded, but would require a GPS to find the zipper of a dress. The only time they smile here is when they are alone in a garage, tinkering with their dream cars.
    • 54 Metascore
    • 50 Critic Score
    The movie has a better sense of flow than his past efforts, and a few lengthy travelling Steadicam shots and some decent mountain scenery (supplied by B.C. rather than Colorado) help dispel the feeling that Perry has merely filmed another of his plays.
  2. The movie does offer one historical first: Ferrell, who previously appeared with comedian Sacha Baron Cohen ( Borat) in "Talladega Nights," now appears with skater Sasha Cohen (one point).
  3. If you have an appetite for well-made treacle, then Bella should go down a treat.
    • 61 Metascore
    • 50 Critic Score
    The film's biggest flaw -- aside from the lapses of credibility, which are almost obligatory in escapist summer movies -- is that it flies on and on until its power to hold us simply peters out.
    • 43 Metascore
    • 50 Critic Score
    One of the best things about this film is that ultimately nobody in it is attractive.
  4. As shrill, partly-animated musicals about singing vermin go, Alvin and the Chipmunks: The Squeakquel really isn't all that bad.
  5. El Bulli barely registers a pulse stronger than a book's. There is no narration, there are no interviews and forget about any apron-ripping drama, as presented nightly on the Food Network.
  6. Are any of his stunts funny? Yes, one scene is worthy of Borat and Mack Sennett's Keystone Kops.
  7. All costume and scant drama, the result is a curiously flat spectacle, neither offensive nor compelling.
  8. There's a big budget, big cast and big themes about religion, science and life on other planets. But Contact, which aims for awe, ends up with piffle.
  9. The ensemble is unwieldy and the attendant yarn much too cluttered.
  10. Despite its title, the movie admirably sticks to its game plan of ennobling the everyman as opposed to turning Papale into some kind of Superman.
  11. Film noir is a style, but self-conscious film noir is just a stylistic tic, less a genre than an ailment. And The Black Dahlia has got a really bad case -- this thing is so mannered it convulses.
  12. Even the visions of attractive half-dressed bodies lolling about in various Madrid bedrooms or leaping into spontaneous music videos don't prove compelling for long.
  13. Isn't nearly as much fun as the original. For one thing, Lara having a boyfriend wrecks everything.
  14. A clear case of huevos con hubris.
  15. While Baron Cohen's lanky physical slapstick and verbal manglings are funny, the movie begins to feel like one of the later, worn-out Pink Panther movies.
  16. The fiction that follows can be safely regarded as much more than a war movie -- hell, this is a pro-war movie. Were it a politician, it would be Donald Rumsfeld.
  17. Trading in his thinker's cap for a craftsman's apron, Lee is content to carve a little something out of nothing much - the result is as dismissible as it is diverting. [Apr 12, 1996. pg. C.2]
    • The Globe and Mail (Toronto)
  18. Delicatessen is a carniverous sausage - lots of fat, a few meaty bits. [10 Apr 1992]
    • The Globe and Mail (Toronto)
  19. A talented cast and moments of brutal violence can't dislodge a sense of ho-hum predictability in Pride and Glory.
  20. By the time the film reaches its big mushy climax, in which the slackers discover their inner caring during a dopey medieval role-playing battle, the movie starts to feel something like a pleasure again.
  21. What's so distressing about Michelle Pfeiffer taking a mooning calf for a lover, though, is that it robs her of the quality that has always made her such an interesting actress.
  22. 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.
  23. The Santa Clause 3 is a colourful jumble. (But quite a bit better than Jungle 2 Jungle). Nevertheless, whether parent or elf, You might laugh when you watch it in spite of yourself.
  24. This is an honestly moving, ungainly film. [25 Mar 1983]
    • The Globe and Mail (Toronto)
  25. These characters don't seem illuminating at all – just damned annoying and, ultimately, dead boring.
  26. One of those international co-productions full of good intentions and blandly polished results.
  27. A recruitment poster loosely disguised as a movie.
    • 67 Metascore
    • 50 Critic Score
    The reflection offered in the puckered muscle and polished chrome of Furious 7’s heroes feels like a cheery escapist distortion of a culture that more closely resembles the smashed steel, mangled bone and blood and vomit of a plain ol’ unsexy car wreck.
  28. What might have been delicious trash lacks the courage of its trashy convictions, and the result is high-born melodrama with the juice boiled out, so much dry cabbage on fine-china plate.
  29. Perhaps the film's biggest weakness is that all the characters are so naive and petty you can't really work up much fervour about who sleeps with whom. That would never be a question in a movie like "Casablanca."
  30. A successful hoax is annoying for everyone except the hoaxster. No one enjoys being the credulous, unsuspecting dupe of a wise---joke -- personally I loathe it.
  31. The question is, is the interspecies wrestling match really worth the ineptly acted spy antics, the big flatulence jokes and Steve-o's endless grandstanding? Not without a handy remote control with a mute button, it isn't.
  32. This is a comedy at cross-purposes -- by turns low-key, bombastic, mildly amusing, manically slapstick. At least there are the fart jokes as a connecting thread.
  33. It attempts to take local history of the illegal whisky trade and raise it to the level of myth.
  34. Plays precariously close to an unfunny sociopathic case study.
  35. A pleasant flick, more suitable for families than football fans.
  36. Lives down to its title -- what an odd and gauzy reverie this is, a strangely muted picture that unfolds at a distinct remove from the reality around it.
  37. Taken on its own, this is a masterful little slice of computer-generated animation, but it gets lost here in the visual racket.
  38. While Bale speaks in an anachronistically modern American vernacular, the Chinese cast recite grammatically perfect, phonetic English so stilted you find yourself wishing the film would stick to subtitles. This is not so much a question of a story being lost in translation as a movie that never finds the right story to tell.
  39. When it comes to retelling the tale of Tristan and Isolde, give us a movie that makes love. Or even a movie that makes war. Anything, just anything, but a movie that makes nice.
  40. 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.
  41. Although Tom Stoppard's script lifts Ballard's spare dialogue directly from the page, the context in which it is placed is kitsch. [11 Dec 1987]
    • The Globe and Mail (Toronto)
  42. Rob Reiner's not up to it: when the movie is meant to be romantic, the tone is frequently mushy and sexless, and when it's meant to be anachronistic and satiric, it's vaudeville-vulgar.
    • 28 Metascore
    • 50 Critic Score
    It's not a winner and not quite a loser either. Like many a beauty contestant, it's glib instead of serious, stylish instead of substantial. Miss Universe, it could never be. Homecoming queen, maybe.
  43. What the film needs more than anything is Perry's alter ego, Medea – a rampaging bowling ball who might knock all these stiff, upright characters spinning.
  44. More Than a Game is less than a movie.
  45. 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.
  46. In the last third, Payback turns into a joke.
  47. This movie wants to be a horse but, even measured in box-office millions, it's just another nag.
  48. Ultimately, the best thing about (500) Days of Summer isn't its gimmicky script. It's the constant performance of Gordon-Levitt, who shifts, scene-by-scene, from moments of ebullience to abject dejection.
  49. This thing can take pride of place in a long tradition of Hollywood howlers.
  50. If 1911 doesn't impress as historical spectacle, neither does it rank high as a Jackie Chan film.
  51. If you see Clue only once, and it's hard to imagine seeing it more than once, even for the five different minutes, the "A" is by far the best, featuring as it does (this does not give away the identity of the murderer) a splendidly funny shtick from Madeline Kahn. [13 Dec 1985, p.D5]
    • The Globe and Mail (Toronto)
    • 59 Metascore
    • 50 Critic Score
    Five Armies only feels truly entertaining when it embraces the arch silliness of its material; like when 92-year-old actor Christopher Lee whirls about in combat with a handful of ghosts.
  52. Although the subject, school bullying, is as fresh as today's headlines, the treatment isn't. Despite the efforts of an impressive cast, the film starts out stale and then just gets tedious.
  53. Tropic Thunder is an assault in the guise of a comedy – watching it is like getting mugged by a clown.
  54. 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.
  55. Sorry, this one doesn't really work at all, but don't blame the workers.
  56. It's a combination that seems ideal for 10-year-old boys who adore violence, and could well be the cornerstone of the next DreamWorks franchise.
  57. With less expensive actors, it might just have been called Chase Movie, and played for laughs.
  58. There are so many events here but no real story. Perhaps that is what's making the drowned kabuki ghost so irate: She's desperate to find a coherent script.
  59. Reign Over Me drizzles down on us for two full hours, persistently determined to prove that, if it hangs around long enough, a coherent movie will turn up. No such luck.
  60. More than anything, the film lacks a rapport with its audience.
  61. But there's no sign of the writerly derring-do that is really essential to daisy-chain storytelling. 200 Cigarettes burns itself out well before midnight.
  62. 5 Days of War feels low-budget in everything except its battle sequences.
  63. Trying to pick faults with a sound-and-spectacle juggernaut like Armageddon is like taking an ant gun to an elephant: All the movie's staggering conventional weaknesses -- ludicrous plot, weak characterization, incomprehensible staging and ambient racket -- are irrelevant.
  64. As long as Chbosky sticks to the story of surviving high school, Perks has a modest charm. But a melodramatic last-act bombshell about Charlie's troubled past, is jarring – like the giant foot of Godzilla descending to squash tender Bambi. It's a case of too much, too late and, ultimately, from a different kind of movie.
  65. Kenneth Lonergan's new film, Margaret, finally released six years after it was shot, now seems destined to become part of film history as one of the more stunning examples of a filmmaker's sophomore slump.
  66. Saddled with this hollow script, Stone pads with elaborate set pieces.
  67. Fighting is a crude love letter to seventies' New York cinema but set in the present.
  68. Rather than being one of us, this stumpy-legged dingbat is a realization of our worst social fears. Before we were laughing with her, and now we're laughing at her.
  69. At his best, Clint directed as he acted -- sparely, laconically, but concisely, with a clean precision. There are flashes of that trademark style early on, but it soon degenerates badly.
    • 64 Metascore
    • 50 Critic Score
    A frustratingly toothless film whose heart is in the right place even if its head isn't.
  70. Nothing in this explicit display is remotely engaging. That's because the sex is a metaphor here. In fact, most everything is a metaphor here. Or a symbol -- the picture is a veritable cacophony of jangling symbols.
  71. Once Bullock's character clears her head at the top of the thrill ride, Premonition becomes inescapably dull because it is her mental health, not her purposefully dull husband's fate, that interested us.
  72. The movie is, however, generous in its condescension: Given enough tolerance, cash and a good sex manual, it says, even the mentally handicapped can be just as middle-class and cute as you or me.
  73. In the battle between dystopian science-fiction movies about butt-kicking young heroines, the new Divergent movie, Insurgent, is actually slightly more believably glum than the third Hunger Games movie, "The Hunger Games: Mockingjay Part 1."
  74. Saw
    Let's just say this: It's a lucky thing I wasn't shackled to my seat in the theatre during this movie. I'd be limping home.
  75. Unfortunately, the script, based on Deborah Moggach's 2004 novel "These Foolish Things," might better be described as pure British stodge: high-starch English comfort food of more sentimental than nutritional value.
  76. Next semester, the stars should drop Speech 217 and enroll in Chemistry 101 – they dearly need some.
    • 62 Metascore
    • 50 Critic Score
    Unfortunately, the team led by producer Ron Howard and directed by Matthew O'Callaghan has jettisoned much of the charm of the original books along with that politically touchy storyline.
  77. As a movie trying to make the case for parental management of the education process, Won't Back Down, doesn't make an entirely convincing case.
  78. Have you ever seen a movie you half-liked a lot?
  79. The movie blows, me hearties, but don't you dare miss it...Why? Johnny Depp, that's why...This has gotta rank among the weirdest performances in the zany annals of the silver screen.
  80. What with two women sitting on the U.S. Supreme Court, you'd think that Hollywood would have graduated past the idea of a female lawyer being a "cute concept," but apparently not. Laws of Attraction is stuck in a time warp that pre-dates Doris Day and Sandra Day O'Conner.
    • 45 Metascore
    • 50 Critic Score
    With escape as its theme, this thin-plotted pleaser comes hard and goes fast, its rush premium but fleeting.
  81. The major problem with Around the World is that there's just not quite enough Chan, or at least the Chan we want to see, which is the acrobatic clown.
    • 53 Metascore
    • 50 Critic Score
    The Coen brothers have made the A-list of writer/directors with their big-budget replicants of Hollywood genres, but the wisecracking Hudsucker Proxy is all comic sound and fury signifying nothing All talk, no substance. [11 Mar 1994, p.C3]
    • The Globe and Mail (Toronto)
  82. The Year of Living Dangerously is chic, enigmatic, self-assured - and empty. [18 Feb 1983]
    • The Globe and Mail (Toronto)
  83. The third instalment of the Step Up dance-romance franchise shifts the action from Baltimore to New York, adds a D to the 3 and invades your space with bubbles, balloons and a whole lotta breakin'.
    • 46 Metascore
    • 50 Critic Score
    Much was made about how, with respectable director Sam Taylor-Johnson at the helm, Fifty Shades was going to be a legitimately good movie. It’s not, and it’s also not over-the-top enough to suggest future cult-classic status. What it is is a movie best saved for at home viewing, both because there is no compelling reason to see it on the big screen, and mostly because the pause, rewind and fast-forward controls are sure to come in handy.
  84. White Chicks could and should be a much more mischievous movie. A half-dozen writers have managed to create a succession of thin sketches that add up to "Some Like It Warmed Over," with a touch of stink.
  85. The title – Hugh Hefner: Playboy, Activist and Rebel – is fine as far as it goes. But if you leave out "octogenarian mammophile" and "calendar fetishist," you leave something essential out of the story.
  86. Most of the cast range from tolerable to appealing (especially Molina and Pena), with a conspicuous exception. Debra Messing, as the career-driven outsider, is consistently stilted.
  87. At each stage of the romance, the movie digresses with a series of swing-and-miss gags, often with an abusive twist.
    • 33 Metascore
    • 50 Critic Score
    Those ghosts might want to find a new vocation, because their work here is done.
  88. Arthur and the Invisibles may be a tale for children, but it's got the bad habits of a profligate adult -- the thing borrows shamelessly from its betters and then pretends to be self-sustaining.

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