The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,778 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 No
Lowest review score: 0 Godzilla
Score distribution:
3,778 movie reviews
  1. It should be a better, more authentic movie, considering that screenwriters Maupin and his ex-partner, Terry Anderson, are retelling parts of their own story here.
    • 48 Metascore
    • 50 Critic Score
    Until the movie stumbles under the weight of its noble intentions and its tediously formulaic story, it delivers a few lively, well-shot dance sequences and some winning moments.
  2. The humour in Accepted is maddeningly safe.
  3. For a film meant to float on a gossamer veil of mystery, The Illusionist falls -- make that flops -- with quite the heavy thud. It's an intended piece of magic that plays like a ponderous slab of melodrama, sleight of hand gone ham-handed.
  4. Embracing such depths, Bukowski somehow made his art. Simulating them, Factotum just makes us queasy.
  5. A botched adult romantic comedy that strands its leading player, and its audience, in a wearying, sitcom-slight battle of the sexes.
  6. How to Eat Fried Worms arrives just in time to placate preteen boys who resent being unable to see the frankly more adult though equally immature "Snakes on a Plane."
  7. 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.
  8. 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.
    • 51 Metascore
    • 50 Critic Score
    Some films, like "Shrek," "The Incredibles" and "Finding Nemo," manage to strike the right balance. Others, like Everyone's Hero -- opening today -- do not.
  9. If you like your sports movies, especially your football movies, larded with more clichés than a politician's stump speech, Gridiron Gang begs to be seen.
    • 53 Metascore
    • 50 Critic Score
    Black comedy often asks viewers, in exchange for the hilarity, to suspend their moral objections along with their disbelief...Here, we keep our part of the bargain only to be cheated of our payoff.
    • 64 Metascore
    • 50 Critic Score
    For all the carnality on offer here, Mitchell and his cast seem ambivalent about sex.
    • 33 Metascore
    • 50 Critic Score
    Those ghosts might want to find a new vocation, because their work here is done.
  10. Tideland is the easiest of Gilliam's films to follow, yet the most disturbing to watch.
  11. Here's one thing about Marie Antoinette: It sure is easy to watch. And here's another: It's even easier to forget.
  12. This is an adaptation that must have been hard to screw up, yet screwed up it has been. If the movie is far from dreadful, it's even further from the searing experience it could have been.
  13. A bland, workaday detective flick that should have been much better than it is.
  14. Although director Taylor Hackford ("An Officer and a Gentleman") handles the usually cumbersome flashbacks with impressive delicacy, he can't stop the narrative from sinking under its own melodramatic weight.
  15. The process of remembering that drives the book is gone from the film, boiled away until all that's left is the mundane residue of memory - mere incidents strung together as plot.
    • 48 Metascore
    • 50 Critic Score
    The presence of some genuine feeling distinguishes Saw III from its predecessors. That said, it has plenty of the blood, torture and dismemberment that moviegoers demand from their Halloween weekend entertainment.
  16. 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.
  17. Fans of both Ridley Scott and Russell Crowe should not be too bummed with the mild sedative that is A Good Year.
  18. Fur does what an Arbus photograph never would -- it leaves no room to imagine and removes any reason for doubt.
  19. 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.
  20. 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.
  21. Fascinating, even when it's fascinatingly bad.
  22. A meditation of life, death, reincarnation and biblical symbolism that feels peculiarly like a head-shop poster, blown up to feature-movie size.
  23. As it exists, Tenacious D in the Pick of Destiny is strictly for the tenaciously devoted.
  24. 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.
  25. 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.
  26. 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.
  27. An exercise in competence guaranteed neither to offend the initiated nor to charm anyone else.
  28. 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.
  29. 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.
  30. 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.
  31. 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.
  32. 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.
  33. 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.
  34. 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.
  35. 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.
  36. 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.
  37. Your basic and basically predictable by-the-numbers picture.
  38. 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.
  39. 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."
  40. 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.
  41. 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.
  42. 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.
  43. 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).
  44. 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.
  45. 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.
  46. Notable for its enthusiastic abandonment of any semblance of narrative coherence.
  47. Pathfinder is aimed more at the action-figure crowd than the history buffs.
  48. 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.
  49. The shipwreck comes too late to rescue movie from endless banalities. [02 Feb 1996]
    • The Globe and Mail (Toronto)
  50. Winterbottom's efficient yet prosaic approach is evident from the first grimy frame. [18 Oct 1996]
    • The Globe and Mail (Toronto)
  51. If you like your archetypes writ large and your sentiment over easy, then Unstrung Heroes is the flick for you. [15 Sep 1995]
    • The Globe and Mail (Toronto)
  52. 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]
    • The Globe and Mail (Toronto)
  53. 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]
    • The Globe and Mail (Toronto)
  54. 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]
    • The Globe and Mail (Toronto)
  55. 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]
    • The Globe and Mail (Toronto)
    • 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)
  56. In terms of psychology, it's an abysmal failure, too real to be symbolic, too symbolic to be realistic. [25 May 1990]
    • The Globe and Mail (Toronto)
  57. 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]
    • The Globe and Mail (Toronto)
  58. 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)
  59. With its wry tone and mild emotional disturbances, In the Land of Women is less a chick flick than a chick flicker.
  60. 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]
    • The Globe and Mail (Toronto)
    • 40 Metascore
    • 50 Critic Score
    Porky's is crafty, offensive retro-fantasy for one gender. [20 Mar 1982]
    • The Globe and Mail (Toronto)
  61. 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.
  62. 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.
  63. 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]
    • The Globe and Mail (Toronto)
  64. The Year of Living Dangerously is chic, enigmatic, self-assured - and empty. [18 Feb 1983]
    • The Globe and Mail (Toronto)
  65. 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]
    • The Globe and Mail (Toronto)
  66. 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)
  67. 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]
    • The Globe and Mail (Toronto)
  68. The only thing majestic about Shrek the Third is the title.
  69. An excessively brutal adventure comic book is exactly what it has set out to be - a medieval Heavy Metal. [14 May 1982]
    • The Globe and Mail (Toronto)
  70. 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]
    • The Globe and Mail (Toronto)
  71. 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]
    • The Globe and Mail (Toronto)
  72. 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]
    • The Globe and Mail (Toronto)
  73. 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]
    • The Globe and Mail (Toronto)
  74. 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]
    • The Globe and Mail (Toronto)
  75. This is an honestly moving, ungainly film. [25 Mar 1983]
    • The Globe and Mail (Toronto)
  76. There are individual sequences alternately amusing and touching. [08 May 1984]
    • The Globe and Mail (Toronto)
  77. The Distinguished Gentleman isn't - distinguished, that is - but it's a notable cut above Eddie Murphy's recent ventures. [04 Dec 1992]
    • The Globe and Mail (Toronto)
  78. 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]
    • The Globe and Mail (Toronto)
  79. The Two Jakes itself is less tragic than petulant, mired in a self-pitying remembrance of things past. [10 Aug 1990]
    • The Globe and Mail (Toronto)
  80. Delicatessen is a carniverous sausage - lots of fat, a few meaty bits. [10 Apr 1992]
    • The Globe and Mail (Toronto)
  81. Falls into the category of heart-warming sports yarns, and, if television still made movies-of-the-week, it would enjoy a rightful home.
  82. 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]
    • The Globe and Mail (Toronto)
  83. 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)
    • 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]
    • The Globe and Mail (Toronto)
  84. 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.

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