The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,743 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: 59
Highest review score: 100 The Pool
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
3,743 movie reviews
  1. 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.
  2. Fans of both Ridley Scott and Russell Crowe should not be too bummed with the mild sedative that is A Good Year.
  3. Fur does what an Arbus photograph never would -- it leaves no room to imagine and removes any reason for doubt.
  4. In the end, F*CK is at most a compendium of opinions and examples, and never feels like a story. Still, great casting and inventive visuals make it an entertaining big-screen experience -- and don't expect to catch it later on network television (otherwise it would have to be retitled BL**P).
    • 64 Metascore
    • 50 Critic Score
    A frustratingly toothless film whose heart is in the right place even if its head isn't.
  5. The target is way too easy and the tone far too smug. This time, they're shooting fish in a barrel with a bazooka and congratulating themselves on their marksmanship.
  6. Fascinating, even when it's fascinatingly bad.
  7. A meditation of life, death, reincarnation and biblical symbolism that feels peculiarly like a head-shop poster, blown up to feature-movie size.
  8. As it exists, Tenacious D in the Pick of Destiny is strictly for the tenaciously devoted.
  9. For some (okay, me), The Holiday, like the holidays, will require some girding up, and is best met halfway with a self-immunizing smile. Otherwise, the good cheer may ring false; worse, it might even seem to sell love cheap, and lovers short.
  10. If this sounds intriguing, we should add that System of a Down is a lousy live band. And director Garapedian, for all her public-minded zeal, isn't capable of corralling her interviews and opinions into a coherent polemic.
  11. Where's 007 when you need him? Neither shaken nor stirred, The Good Shepherd is a flat draft of history that looks at the Central Intelligence Agency's early years through the horn-rimmed gaze of a fictional spook.
  12. An exercise in competence guaranteed neither to offend the initiated nor to charm anyone else.
  13. Both Smith and his son are appealing presences, but The Pursuit of Happyness seems to take place in a sociological vacuum. Gardner's insight into his difficulties begins and ends with the thought that, in the pursuit of happiness, there's a lot more pursuit involved than happiness, and unasked political questions seem to dangle ominously over the entire movie.
  14. While Tom Tykwer's lavish and lively screen adaptation of Perfume: The Story of a Murderer is certainly not a stinker, there is something decidedly off about it.
  15. 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.
  16. After the first hour or so of strained puns and wisecracks, you start feeling that the sooner the ending comes, the happier it will be.
  17. In the recent "Half Nelson," a similarly themed classroom pic, liberalism struggled to balance its lingering hopes with its systemic despair. That film was pure fiction, yet felt absolutely true. This one is apparent fact, yet seems abjectly false.
    • 49 Metascore
    • 50 Critic Score
    While the world of competitive cycling can be extremely exciting, not every one of its events is captivating. A well-intentioned biopic about Scottish cycling maverick Graeme Obree, The Flying Scotsman is hampered by the fact that its hero earned his greatest renown for riding around and around on a velodrome … alone … for an hour.
  18. The plot is stale though some of the moves are fresh.
    • 28 Metascore
    • 50 Critic Score
    The young couple is far less compelling, which is one reason why the remake is only intermittently effective. Bland and dim-witted, it's hard to see why they'd attract Ryder's wrath.
  19. Twitchy, messy and uneven, it's an action flick that just won't shut up. The movie is somewhat saved by a smattering of wacky minor characters and humorous bits of non-essential business, but they certainly don't add up to a satisfying experience.
    • 49 Metascore
    • 50 Critic Score
    Whether because of Madea's on-screen absence or the abilities of the two lead actors, Daddy's Little Girls is still a step up for Perry, boasting moments of charm that transcend the usual mess.
  20. Under better circumstances, Cooper might be said to have stolen the picture outright. But as it is, and compelling as he is, there's just nothing here to steal.
  21. Rarely have I seen a movie which made me feel more skeptically Canadian. Please -- it's not true that you can do anything. Stop trying. You might make things worse.
    • 47 Metascore
    • 50 Critic Score
    About 45 minutes worth of funny stuff awkwardly stretched to 84 minutes.
  22. Your basic and basically predictable by-the-numbers picture.
  23. This is one of those ludicrous, semi-offensive, semi-entertaining potboilers that feels as if the script were dragged out from someone's naughty-book stash.
  24. Washington's take on the seductress is so saucy, so unapologetic, such a brash blend of insouciant charm and raw sex appeal, that she swipes the picture from right under its nominal star. The only problem is that her theft inadvertently tips the balance of the moral dilemma, shifting it seismically all the way from "He'd be a fool to succumb" to "He'd be a coward not to."
  25. 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.
    • 55 Metascore
    • 50 Critic Score
    One wishes the makers of Pride had stuck with non-fiction, because their movie reduces Ellis's story to the level of generic sports-flick hokum.
  26. 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.
  27. With your sharper minds, you'll probably figure it out. I hope so. Hope you'll like the movie too. But here's a bit of advice: Don't bet your allowance on it. Make Daddy pay.
  28. 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).
  29. This is a film that dearly wants to be important, that wants to do for Holland what Irene Nemirovsky's "Suite Française" does for France - examine the German occupation through a prism of painful honesty. Yet the lofty ambition comes dressed in cheap attire; Verhoeven can't seem to stop himself from shopping downmarket.
  30. The Hoax is a fraud, and not a very good one at that. Stay with me here because we're about to spiral down the rabbit hole: The movie is a fictionalized account of writer Clifford Irving's fictionalized account of his own fictionalized account of wacky billionaire Howard Hughes.
  31. Notable for its enthusiastic abandonment of any semblance of narrative coherence.
  32. Pathfinder is aimed more at the action-figure crowd than the history buffs.
  33. The only surprise here is the real star of the show, who turns out to be not Halle Berry, not even Bruce Willis, but a flat computer screen in all its hard-driven glory.
  34. The shipwreck comes too late to rescue movie from endless banalities. [02 Feb 1996]
  35. Winterbottom's efficient yet prosaic approach is evident from the first grimy frame. [18 Oct 1996]
  36. If you like your archetypes writ large and your sentiment over easy, then Unstrung Heroes is the flick for you. [15 Sep 1995]
  37. A Mexican feature from writer/director Guillermo Del Toro, it's a modern vampire tale that occasionally rises to the level of competence but never inches any higher. [20 May 1994]
  38. Based on an allegedly true story, this is a dark comedy that begins with a charmingly light touch.... Alas, it's when the tale stays murderous, amateur night dragging into amateur day, that the picture loses both its energy and its edge. [09 Apr 1990]
  39. Like an over-ambitious freshman with a term paper, Singleton raises every issue and illuminates none. And, again, this film is better when the combative heat rises, particularly when the long-telegraphed confrontation between Malik and the neo-Nazi finally comes to a (skin)head. [13 Jan 1995, p.C3]
  40. For a screwball comedy, it takes a long time to wind up, and Kline's Frenchman is an outright cartoon. But Ryan manages to hold attention. [6 Oct 1995, p.C2]
    • 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]
  41. In terms of psychology, it's an abysmal failure, too real to be symbolic, too symbolic to be realistic. [25 May 1990]
  42. The Bostonians, from the novel by Henry James, is the story of their relationship, one of the strangest in literature. Unfortunately, that strangeness has survived the transfer to the screen less than intact, and satiric oddity has been replaced by romantic banality. Redgrave's performance - red-eyed, quivering, opalescent - is peerless, the one incontrovertible reason to see the film. [23 Nov 1984]
  43. 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]
  44. With its wry tone and mild emotional disturbances, In the Land of Women is less a chick flick than a chick flicker.
  45. Poetic Justice is like that - so much worse than it should have been, and yet, for brief shining moments, so much better than any other 2-star film in sight. [23 July 1993]
    • 40 Metascore
    • 50 Critic Score
    Porky's is crafty, offensive retro-fantasy for one gender. [20 Mar 1982]
  46. The Invisible isn't the formulaic horror film that the studio is selling it as but surely it wasn't supposed to be an accidental comedy either.
  47. Ultimately, Next is just the next Nic Cage vehicle, another quirky story that allows him to do his patented neurotic balancing act in an askew world. The problem here is not just that Cage's shtick is wearing as thin as his hair; the role is a bad fit.
  48. The Mosquito Coast is a work of consummate craftsmanship and it's spectacularly acted, down to the smallest roles (Martha Plimpton as a classically obstreperous preacher's daughter, for example), but its field of vision is as narrow and eventually as claustrophobic as Allie's. [28 Nov 1986]
  49. The Year of Living Dangerously is chic, enigmatic, self-assured - and empty. [18 Feb 1983]
  50. Hurt is so good at capturing the charming and chilling Ned that he almost makes up for the film's two primary weaknesses: Kasdan's inexperience and a message of significant unpleasantness. [28 Aug 1981, p.P17]
  51. 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]
  52. The movie is a competent formula kid flick stuffed to the dimples with movie deja vu, a sop to those Hollywood-bashing politicians who want old-fashioned family values on their celluloid. [17 Nov 1995]
  53. The only thing majestic about Shrek the Third is the title.
  54. An excessively brutal adventure comic book is exactly what it has set out to be - a medieval Heavy Metal. [14 May 1982]
  55. First Blood is a gung-ho action flick fast enough and brutal enough to become Stallone's first non-Rocky hit; on the profound sympathetic levels it seeks to address, however, it is an emission of profound stupidity. [22 Oct 1982]
  56. In most every frame, Hartley takes pains to tilt his camera at odd angles – in other words, he's gone literally off-kilter, and it's just off-putting. What's worse, a further hallmark of the Hartley canon, his self-reflexivity, has begun to smack of self-promotion.
    • 51 Metascore
    • 50 Critic Score
    Alas, the perfect Steve Martin vehicle will probably never be the perfect film, no matter how endearing the silver-haired actor makes himself. And so it is with Father of the Bride; good, but by no means great. [20 Dec 1991, p.C3]
  57. Damned if this sugary confection doesn't come with a creepy crust. the odd sense that these aging boomers, ever eager to stall the march of time, are competing with their own daughter in the maternity sweepstakes - I'll see your child, and raise you one. [8 Dec 1995, p.C1]
  58. The movie features Eddie Murphy as a vampire who is both cool and sucks. The same evaluation might apply to the entire film, which is neither as good as it might be nor as bad as you might expect. The long- in-the-tooth Dracula story, which has been updated and set in the black community of contemporary Brooklyn, is a pulpy mishmash of horror and comedy, equal parts the product of its comedian star and its creepshow director, Wes Craven. [1 Nov 1995, p.C2]
  59. Broken Arrow conforms faithfully to the tongue-in-cheek, post-Die Hard action genre, with the usual spectacularly choreographed action sequences and rudiments of a story line. Even considering the meagre demands of the genre, though, character and plot seem woefully underbaked and the reliance on improbable solutions soon makes the groans of incredulity outnumber the gasps. [9 Feb 1996, p.C1]
  60. This is an honestly moving, ungainly film. [25 Mar 1983]
  61. There are individual sequences alternately amusing and touching. [08 May 1984]
  62. The Distinguished Gentleman isn't - distinguished, that is - but it's a notable cut above Eddie Murphy's recent ventures. [04 Dec 1992]
  63. It's better than 2, but not nearly as good as 1. On the slippery slope of sequel-land, that's an okay average. [15 May 1992]
  64. The Two Jakes itself is less tragic than petulant, mired in a self-pitying remembrance of things past. [10 Aug 1990]
  65. Delicatessen is a carniverous sausage - lots of fat, a few meaty bits. [10 Apr 1992]
  66. Falls into the category of heart-warming sports yarns, and, if television still made movies-of-the-week, it would enjoy a rightful home.
  67. But there's still Murray, who drives the idea further than it has any right to go. He energizes the loony schtick of the opening scenes. [17 May 1991]
  68. 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]
    • 41 Metascore
    • 50 Critic Score
    On screen, the result feels stagey and cramped, as though the film had been "adjusted for your TV set" before going to video. [13 Dec 1996]
  69. The Loss of Sexual Innocence is not bad, as in the sense of inept; it's artful enough to show how truly trite it is.
  70. With its glum litany of naked corpses and mutilations, and understated actors looking bluish under the morgue's fluorescent lights, Nightwatch drains the fun out of horror. [17 Apr 1998]
  71. In the end, Eagle vs. Shark represents a convincing triumph for Dumb.
  72. Dorothy's friends are as weird as her enemies, which is faithful to the original Oz books but turns out not to be a virtue on film, where the eerie has a tendency to remain eerie no matter how often we're told it's not. [22 Jun 1985, p.E3]
  73. If the plot thins, the performances don't. Brad Pitt's lank-haired loony, Juliette Lewis's crippled innocent, David Duchovny's well-meaning hypocrite, Michelle Forbes' black-clad shutterbug - each is a deeply etched portrait that fulfills its early promise. [24 Sep 1993]
  74. The Black Stallion Returns is not a magic monument - it's only a terrific film for kids. [26 Mar 1983]
  75. Joe Pytka does display an occasional nice touch with mood and atmosphere - at its infrequent best, the humor here is almost wry. But his editing is as jumpy as a mare in heat. [19 Aug 1989]
  76. 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]
    • 77 Metascore
    • 50 Critic Score
    Needless to say, what's refreshing about A Christmas Story is subversive to the sepia-toned and loving references to the forties which director Bob Clark has provided for the film. The fictional Parker family that Shepherd has written about for 20 years is not as gentle or gauzy as they first appear. It's possible to imagine them so preoccupied with their own problems, whether dealing with the neighbor's dogs or winning a mail- order contest, that they could forget Christmas altogether. [25 Nov 1983, p.E5]
  77. You Kill Me is not so much a bad film as one filled with missed potential and marked by the seams of compromise.
  78. The characters, full of blue-blood archness and angst, are partial to self-conscious speechifying.
  79. The script's attempt to splice together a fumbling love story with a portrait of toxic personality disorder feels incongruous, like a serving of porridge flambé au whisky.
    • 64 Metascore
    • 50 Critic Score
    The end result of this showcase for Buscemi's writing, acting and directing chops is so uneven and mixed in small details and overall tone that it's anybody's guess if it's one for the Oscars or the Razzies next year.
  80. The film's broad attempts at humour are all mouldy bits from Hollywood films.
    • 37 Metascore
    • 50 Critic Score
    Somewhere between its loutish humour and laudable sentiments are the traces of a good buddy movie that could, at the very least, have been harmless summer fun.
    • 33 Metascore
    • 50 Critic Score
    A Canadian-made werewolf thriller, Skinwalkers occasionally rises above its station as a standard-issue horror flick to deliver some enjoyably cheeseball thrills.
  81. Feels like one of those misguided high-school-teacher exercises in making literary history sound contemporary.
  82. Actually, occasionally, does feel good. Now if only it had something to say.
  83. An inferior "Napoleon Dynamite." Call it Napoleon Firecracker. The film steals one of the best laughs of Jon Heder's surprise 2004 hit, the scene where Napoleon nosedives over a bicycle jump, and stretches the gag into an 86-minute movie.
  84. It's the same package with new wrapping.
    • 55 Metascore
    • 50 Critic Score
    The relationship between reporter and subject is always a tricky one, but in Resurrecting the Champ it's downright delusional.
  85. Haven't they created a movie that is ultimately a soulless clone of a vibrant original and, thus, a splendidly dull example of the very forces it warns us against – the forces of grey and passion-sapping conformity.

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