The Globe and Mail (Toronto)'s Scores

For 4,041 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 Free Willy
Lowest review score: 0 Vacation
Score distribution:
4,041 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. This is an honestly moving, ungainly film. [25 Mar 1983]
    • The Globe and Mail (Toronto)
  3. These characters don't seem illuminating at all – just damned annoying and, ultimately, dead boring.
  4. One of those international co-productions full of good intentions and blandly polished results.
  5. A recruitment poster loosely disguised as a movie.
  6. 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.
  7. 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.
  8. 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."
  9. 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.
  10. 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.
  11. 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.
  12. It attempts to take local history of the illegal whisky trade and raise it to the level of myth.
  13. Plays precariously close to an unfunny sociopathic case study.
  14. A pleasant flick, more suitable for families than football fans.
  15. 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.
  16. Taken on its own, this is a masterful little slice of computer-generated animation, but it gets lost here in the visual racket.
  17. 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.
  18. 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.
  19. 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.
  20. 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)
  21. 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.
  22. 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.
  23. More Than a Game is less than a movie.
  24. 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.
  25. In the last third, Payback turns into a joke.
  26. This movie wants to be a horse but, even measured in box-office millions, it's just another nag.
  27. 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.
  28. This thing can take pride of place in a long tradition of Hollywood howlers.
  29. If 1911 doesn't impress as historical spectacle, neither does it rank high as a Jackie Chan film.
  30. 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)
  31. 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.
  32. 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.
  33. Tropic Thunder is an assault in the guise of a comedy – watching it is like getting mugged by a clown.
  34. 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.
  35. Sorry, this one doesn't really work at all, but don't blame the workers.
  36. 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.
  37. With less expensive actors, it might just have been called Chase Movie, and played for laughs.
  38. 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.
  39. 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.
  40. More than anything, the film lacks a rapport with its audience.
  41. 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.
  42. 5 Days of War feels low-budget in everything except its battle sequences.
  43. 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.
  44. 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.
  45. 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.
  46. Saddled with this hollow script, Stone pads with elaborate set pieces.
  47. Fighting is a crude love letter to seventies' New York cinema but set in the present.
  48. 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.
  49. 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.
  50. 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.
  51. 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.
  52. 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.
  53. 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."
  54. 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.
  55. 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.
  56. Next semester, the stars should drop Speech 217 and enroll in Chemistry 101 – they dearly need some.
  57. 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.
  58. 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.
  59. When it's good, it's because it's imitating its predecessor (but it suffers from tired spilled blood) and when it's bad, it's because it's imitating its own imitators. [31 Oct 1981]
    • The Globe and Mail (Toronto)
  60. Have you ever seen a movie you half-liked a lot?
  61. 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.
  62. 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.
  63. With escape as its theme, this thin-plotted pleaser comes hard and goes fast, its rush premium but fleeting.
  64. 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)
  65. The Year of Living Dangerously is chic, enigmatic, self-assured - and empty. [18 Feb 1983]
    • The Globe and Mail (Toronto)
  66. 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.
  67. 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.
  68. 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.
  69. 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.
  70. 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.
  71. 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.
  72. Running more than two hours – a very long time for an adaptation of a book without a plot – Eat Pray Love is like an overstuffed lightweight suitcase, with little room for us to feel the emotional connections Liz makes with new friends along the way.
  73. Although the entire film is beautifully framed and shot, especially the surreal sequences, precious little coheres into anything resembling a compelling narrative.
  74. Soul Surfer is a true story that plays like bad fiction.
  75. On the byways of any bustling metropolis, here is what the combination of bicycles + cars + pedestrians is certain to produce: (1) nasty accidents and (2) ferocious debates. More surprisingly, on the silver screen in Premium Rush, here is what the same combination fails to produce: a good action movie.
  76. Occasionally, the cast rises above the material.
  77. Barrymore's charm helps make Beverly Hills Chihuahua a congenial family outing.
  78. Though it's undoubtedly ingenious, for such a clever movie, it's a shame Rubber couldn't be more fun.
  79. Fails to ever come alive as a human comedy in the manner of the best mockumentaries.
  80. 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.
  81. Jack Goes Boating barely stays afloat – it's a deep disappointment.
  82. Suggestive of "X-Men," "The Matrix" and the television show "Heroes," Push is one of those time-mangling thrillers that manages to seem both complicated and superficial.
  83. Bursting with potential that never gets realized.
  84. The questions the movie raises have less to do with science than movie execution: Do the actors sound so robotic because they are playing robots well or humans badly? And did a machine write this dialogue? If so, could we please apply for an upgrade?
  85. Isn't unequivocally bad. Rather, this is what's known in the boxing world as an "opponent" -- shows up on the weekend just to fill out the card, to do battle with its betters, earn a little cash and be completely forgotten come Monday morning.
  86. But for a lightweight summer romantic comedy, The Perfect Man delivers the goods and includes a couple of scenes that are, surprisingly, fresh and quite funny, both of which, incidentally, involve the music of Styx.
  87. Simultaneously salacious and sugary.
  88. Still, what makes Sly's new film fascinating is that, 35 years after he created and starred in the ultimate little-boy fantasy, "Rocky," Stallone remains such a guileless, big-dreaming innocent.
  89. Best when Fraser is on screen. Ian McKellen, who starred with Fraser in "Gods and Monsters," called him the most natural actor he'd worked with, marvelling at Fraser's ability to disappear into roles.
  90. What gets sacrificed on the altar of this new franchise launch is any real sense of fun.
    • 41 Metascore
    • 50 Critic Score
    Drillbit Taylor brings Seth Rogen's hot streak to a sudden halt.
  91. The new Jason Statham movie Homefront aims to be retro, greasy comfort food but despite its lowly ambitions, there’s barely enough spice here to merit a decent burp.
  92. The movie feels trapped in the 1980s and feels like a missed opportunity.
  93. The mould for all these stories of hot lust and burning cities, creamy-skinned rich girls and their bitter lovers is that grand and grotesque cinema monument, was "Gone With the Wind." You can't go there again and you shouldn't want to.
  94. By happy coincidence, their names – Bitey, Loudy, Stinky, Lovey and Nimrod – pretty much double as a plot summary.

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