The Globe and Mail (Toronto)'s Scores

For 4,413 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 A Fish Called Wanda
Lowest review score: 0 Twin Peaks: Fire Walk with Me
Score distribution:
4413 movie reviews
  1. [Walken's] every minute on screen is filled with that level of jittery invention, and, watching him at play, not even the flintiest temper could resist a wide grin. Envy can surely be a trial, but Saint Christopher is there to ease our troubled journey and see us smilingly home.
  2. Dark Shadows only meaningful relationship is between Depp and his audience. He's a persona now, no longer an actor. And the kick here, as always, is watching him try on funny accents and hairdos.
    • 39 Metascore
    • 50 Critic Score
    As a script it is uneven and tonally inconsistent – best as a brainless, gross-out comedy, less successful when striving for emotional poignancy.
  3. The Black Stallion Returns is not a magic monument - it's only a terrific film for kids. [26 Mar 1983]
    • The Globe and Mail (Toronto)
  4. At the heart of the problem with this period piece is an absence of a riveting scene or a memorable slice of dialogue.
  5. Performances, over all, are a mixed bag; Zeta-Jones does a fair, if incongruous, impersonation of a forties vamp, while Chandler and Pepper do well with limited screen time. As usual, Wright, as a Machiavellian police commissioner, transcends so-so-material to establish himself as the most complex character in the film.
  6. While the outdoor sequences were filmed in New Zealand's Woodhill State Forest – the movie's most stunning 3-D moments – Yogi Bear does feature notable "Canadian content" via two Ottawa-born thespians.
  7. The movie itself seems more familiar than fascinating, more innocuous than inflammatory, and, at 2½ hours, more tedious than anything else.
    • 57 Metascore
    • 50 Critic Score
    The film's long middle section is basically "Paranormal Activity" sans that series' handicam aesthetic, as things go bump in the night and the grown-ups take forever to get their act together.
  8. The movie, which is roughly as predictable as the attraction of flies to dung, is a hackneyed mix of sentimentality and anarchic comedy.
  9. The original was shot in 3-D; this, by contrast, is 1-D all the way.
  10. More entertaining in concept than execution. What starts as geek comedy gradually slides into a familiar morality play about the savagery beneath the veneer of civility.
  11. The film itself struggles to do justice to each victim. Turns out three stories are two too many. The Company Men should have been downsized.
  12. 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.
  13. Horns is allegorically cluttered, unsure of its tone and outrageous with its snakery in a half-serious supernatural thriller about good, evil and redemption in a garden of Eden.
  14. If the facts of the story are essentially true, their presentation is as formulaic as ever.
  15. The movie is a preholiday trifle that’s mildly risqué and a lot sentimental.
  16. In the world of pulp movies, where horror, westerns and Asian exploitation borrow and blend with each other, there's a point where the cross-genre mishmash begins to feel like gobbledegook. That's definitely the case with Sukiyaki Western Django.
  17. This is the kind of picture that is faux subtle when it should be bold, and really ham-handed when it should be delicate.
  18. Where this PG-rated adaptation of a hit Broadway show, adapted by Adam Shankman falls down is by being far too mild for its supposedly outrageous subject.
  19. There's a scientific law to be discerned here that producers would be well to heed: Mediocre movies start to drag as soon as the action speeds up; when the explosions start, they fall to pieces.
  20. Comes close to collapsing under the weight of drawn-out scenes and an earnest story that piles on minor themes and subplots, but the energy and visual kick of the band numbers saves the day.
    • 36 Metascore
    • 50 Critic Score
    Wobbles like a punch-drunk fighter. It never finds its legs, but allows Ryan -- whose wardrobe looks like Erin Brockovich crossed with Barbarella -- the space to do what she does best: turn on the charm, and make audiences wonder why she's slumming in such a lame storyline.
  21. There’s little here to improve upon the stilted quality of the original, and it’s even more cumbersomely plotted.
  22. With no help from the dialogue, Kidman doesn't have a clue how to make clueless interesting. Not for lack of trying. Her efforts, which often consist of channelling Elizabeth Montgomery by way of Marilyn Monroe, are painful but insistent.
  23. A layabout movie -- not risibly bad, just relentlessly sub-par.
    • 33 Metascore
    • 50 Critic Score
    When Uptown Girls isn't trying to play up its wacky high jinks -- and those tend to be so weak they can't possibly float the film -- it stoops to the kind of psychological character development films this shallow should really avoid like the plague.
    • 39 Metascore
    • 50 Critic Score
    Full of poop and pratfalls, Daddy Day Care's abrasive marketing campaign promises a fresh slice of hell. So for it not to cause physical pain to any viewer over the age of five is a considerable achievement.
  24. Throbbing musical crescendos and flickery flashbacks abound but apart from some outlandish plot machinations, nothing here is good or bad enough to be memorable.
    • 52 Metascore
    • 50 Critic Score
    Ambitious but generic martial-arts movie.
  25. There are the usual gaggle of embarrassing friends, a lot of voice-over and montages, a wedding, a funeral and wait … something’s missing. Oh, right. Hugh Grant.
  26. No matter how you judge it -- as a strict morality play or simply a psychological thriller -- Apt Pupil just doesn't make the grade.
  27. Sometimes, a strong premise makes for a weak movie, which ends up drowning in its own clever conceit.
  28. Lola Versus is all Greta all the time, a bonanza for fans and proof that Gerwig's easy offbeat charm, obvious smarts and physical comedy gifts can carry a film.
  29. 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.
    • 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)
  30. Light to the point of disposability, Sweet Home Alabama is a small screwball comic idea that spins out far too long.
  31. 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)
  32. Dealing with such heavy matters as death, faith and forgiveness, the film wants to be a classic-in-the-making, but it just doesn’t hit the emotional and narrative cues necessary for such a weighty job.
  33. As for Vaughn, he seems exhausted by his strenuous efforts to bring a few sparks of spontaneity to such an overcalculated Christmas product.
  34. Rude, lewd and occasionally in the nude, The Hangover brings a collection of fresh faces to the familiar raucous male-bonding comedy.
  35. A story only slightly more complex than your average episode of "Friends."
  36. The emotional geometry is familiar enough to be credible yet odd enough to be creepy.
  37. Since "To pay or not to pay" is banal, the plot takes the popular path of excess to a brain-boggling twist (to be specific would be to ruin what fun there is), then spirals off in a series of ever more unlikely gyrations, until a heretofore decent picture has gone completely south into fantasy-land.
    • 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)
  38. The movie’s compromised tone, wavering between emo introspection and rom-com cuteness, is awkward in all the wrong ways.
  39. 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)
  40. A bad-cop, worse-cop movie.
  41. What a shame that The Spirit isn't nearly as good as it looks.
  42. Wants keenly to be hip and modern, but really it's just an old-fashioned drawing-room comedy.
  43. David Lynch's eye-popping imagery is buried under an avalanche of self-indulgence.
  44. With the two American actresses miscast, and the two young British lads behaving like a couple of "Brideshead Revisited" rejects, most of the dramatic heavy lifting is left to veteran English actor Wilkinson.
  45. As an actor, Kirk Douglas still has more to give; too bad he didn't have more to work with.
  46. The contrived script is stretched to the breaking point by Reiner's listless direction.
  47. For all that Silence is a gorgeous film filled with imagery that is sometimes startling and often compelling, the director sadly fails in a passion project decades in the making: This is a long and dull costume drama that seems to think a contemporary audience can picture faith as easily as it does a cassock, cross or kimono.
  48. 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]
    • The Globe and Mail (Toronto)
  49. A movie about con artists that turns out to be a con job, and guess who's getting played for a sucker?
  50. The best sequence is a five-minute set-piece where Clouseau struggles with an accent coach to learn how to order a hamburger like an American.
  51. Pathfinder is aimed more at the action-figure crowd than the history buffs.
  52. Over all, the movie is just funny enough to make you wish it were much better than it is.
  53. Smith’s charisma isn’t always an asset to the movie though. Unlike the unknown Macchio in the original Kid, there’s nothing vulnerable about Smith except for his diminutive size, which is its own problem.
  54. Somewhere, back in the mists of time, co-writers Eric Bress and J. Mackye Gruber must have flapped their gums in the fond hope of crafting a script; today, that whisper of hot air has swollen into a feature flick that rains down upon us a veritable torrent of inane plot.
  55. The climax, a 20-minute dramatization of the crucial contest, lacks both suspense and poetry -- essentially, we're left to watch a clumsy recreation of a game whose outcome we already know. That's a sort of resurrection, I suppose, but miraculous it assuredly ain't.
  56. Though Shark Tale will make waves at the multiplexes and move a lot of plastic toys at Burger King, the movie lacks real heart. It feels like a cold-blooded, always moving, profit-making machine.
  57. This is a guy movie, a gothic creepshow.
  58. The characters, full of blue-blood archness and angst, are partial to self-conscious speechifying.
    • 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.
  59. It's a bright, busy imitation of independent moviemaking. But it's hardly an independent film. Hopefully, next time out, director Crowley, a promising storyteller, will find his own story to tell.
  60. Finally, it's more a cautionary tale about the dangers of what can happen when a bad movie happens to a popular novelist than a keeper for the ages.
  61. As Whatever Works creaks along, the attention-getting nastiness of the first half dissipates and it turns into just another Woody Allen overacted sex farce. Of all the insults hurled about in the film, perhaps the worst is its pandering conclusion. What exactly does Allen take his audience for? A bunch of mindless zombies?
  62. 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.
  63. Those Hollywood tricksters have managed to shorten the story while slowing the pace -- all of a sudden, minutes are passing like hours.
  64. In the Scotland of Young Adam, love is getting dragged through the mud.
  65. As the title loudly hints, ultimate victory assumes the flawless shape of the star pitcher’s perfect game, a rarity anywhere yet especially at the Little League level. In getting to that climax, the recreated game action is a bit tepid and the child actors too precociously cute, but the true tale in the midst of the fabrication remains a guaranteed heart-warmer.
  66. By the time the film reaches its obvious conclusion – by the time Hart expends more energy than Bugs Bunny, by the time the espionage plot twists itself into corners too convoluted for even "Homeland" fans, by the time Thurber exhausts the audience by unleashing cameo after cameo – it’s only Johnson who remains standing tall.
    • 42 Metascore
    • 50 Critic Score
    A potentially incisive character study is buried under layers of fluff in The English Teacher.
  67. In an irony, Godard’s certainly aware of (after all, he constructed it), Goodbye is noteworthy for being shot in 3-D, a calling card of the cookie-cutter Hollywood movies it couldn’t have less to do with.
  68. A high-pedigree, low-interest affair that serves mostly as an exercise in postmortem speculation: Why is a project with so many prominent names attached to it so sterile and lifeless?
  69. The whole picture plays like a pop-up book in a welfare agency.
    • 40 Metascore
    • 50 Critic Score
    No one knows why bad things happen to good people. But we do know why bad things happen to good film ideas. They get ruined by poor scripts and indifferent direction. The evidence desemaine– Shrink.
  70. Mediocre movie.
  71. Coming from writers responsible for such material as "Snow Dogs" and "The 6th Day," National Treasure is not so much a no-brainer as a brain-stunner, so audaciously ridiculous you are initially intrigued, then soon irritated by its incoherence.
    • 56 Metascore
    • 50 Critic Score
    Not nearly as smart as it should be.
  72. Beneath the polished surface, Dead Poets Society is moribund at the core - too pat, too safe and too hypocritical, as conformist as the conformity it so easily decries.
  73. Pretty routine, pretty forgettable. Don't know how else to say this, so best to be frank: I'm just not that into He's Just Not That Into You.
  74. There's a whole lot of "American Beauty" and "The Ice Storm" packed into Lymelife.
  75. The result is nothing if not a curiosity piece.
  76. Leaves us with is sporadic showers of laughs for kids under 10. That's a shame, because the film could have been a delight for everyone, if only it hadn't learned to behave.
  77. The Imaginarium of Doctor Parnassus takes us deep into the imagination of Terry Gilliam, which once was a splendid place to visit. And might prove so again. But not here, because this film is less a coherent exercise of imagination than a haphazard lecture on its importance, a lecture that eventually dwindles into self-indulgence.
  78. The Super Bowl MVP is awarded a trip to Disneyland. Maybe in the future, he should be awarded a part in an Adam Sandler movie. There is no bigger male fantasy land.
    • 43 Metascore
    • 50 Critic Score
    The scenes between Stewart and co-star Nicholas Hoult tend to be long and lingering, even bordering on dull, and the melodramatic music grows bothersome. By the time it reaches its abrupt ending, the only emotion audiences might be left with is boredom.
  79. There’s a scene in a members-only club where Wyatt and Goddard meet, giving the two veteran actors the chance to go eyeball to eyeball for a couple of minutes of barbed dialogue. It almost makes the movie worth it.
    • 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.
    • 49 Metascore
    • 50 Critic Score
    A bizarre and flawed movie. It serves up the 1991 siege of Vukovar with a crazed Balkan bloodthirstiness that is shocking and sickening to watch, far beyond anything usually seen in an American movie.
  80. The movie meanders on and on, like a bad sexual dream, until you finally wake up mumbling: Stella, please: leave that groove thang alone.
  81. We also know the last time Keanu and Sandra shared the screen together. That was yesterday and Speed. This is today and Snail. I'm not betting on a tomorrow.
  82. This is a fairly well-made picture that's just been fairly well-made too many times before, a knock-off of a thousand other knock-offs.
  83. Notorious isn't, not even remotely.
    • 29 Metascore
    • 50 Critic Score
    The script wants desperately to be about the unfathomable nature of love. The best it can deliver is this: “Love is loving someone who is covered in snot.” It’s all quirked up, but goes nowhere.
  84. Only an actor of Moore's calibre could begin to add a bit of credible flesh to these hallowed bones.

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