The Globe and Mail (Toronto)'s Scores

For 3,936 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: 60
Highest review score: 100 The Player
Lowest review score: 0 Far and Away
Score distribution:
3,936 movie reviews
    • 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.
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. Although the entire film is beautifully framed and shot, especially the surreal sequences, precious little coheres into anything resembling a compelling narrative.
  8. Soul Surfer is a true story that plays like bad fiction.
  9. 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.
  10. Occasionally, the cast rises above the material.
  11. Barrymore's charm helps make Beverly Hills Chihuahua a congenial family outing.
  12. Though it's undoubtedly ingenious, for such a clever movie, it's a shame Rubber couldn't be more fun.
  13. Fails to ever come alive as a human comedy in the manner of the best mockumentaries.
  14. 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.
  15. Jack Goes Boating barely stays afloat – it's a deep disappointment.
  16. 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.
  17. Bursting with potential that never gets realized.
  18. 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?
  19. 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.
  20. 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.
  21. Simultaneously salacious and sugary.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. The movie feels trapped in the 1980s and feels like a missed opportunity.
  27. 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.
  28. By happy coincidence, their names – Bitey, Loudy, Stinky, Lovey and Nimrod – pretty much double as a plot summary.
  29. It's a slacker flick, it's a relationship pic, it's a road movie all under the same hood.
  30. Winnie begins as hagiography and ends in hellish confusion.
  31. At this point, the effect of Myers' one-man Sixties love-in already feels less shagadelic than just shagged out.
    • 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.
  32. Though elegantly staged, Silk is badly written and indifferently cast.
  33. Lions for Lambs appears to have taken its inspiration from Al Gore's stolid "An Inconvenient Truth," using the stage lecture and Power Point presentation in lieu of dramatic momentum.
  34. In pairing the two icons, Righteous Kill is definitely an event. What it isn't is much of a movie. Such a waste.
  35. For all its action thrills, Salt is relatively humourless fare.
    • 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.
  36. Although a couple of performances here may earn Oscar nominations, by the time you’ve sat through the wreckage, you’re left with the sense that this really must have worked better onstage.
  37. The trouble with Undiscovered isn't that it's actively annoying but it's so dramatically listless it seems determined to become Unremembered.
  38. This is an excellent movie for watching Jolie, one of the more entertaining sidelines in recent Hollywood movie going. There are two firsts for her here: Angelina does blonde and, more importantly, Angelina does comedy.
  39. 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)
  40. In every way but one, this is just another genre pic on another mundane outing.
    • 45 Metascore
    • 50 Critic Score
    Valiant is weak tea next to the best of Pixar and DreamWorks.
  41. The whole project labours towards an importance it never earns. In Beautiful Boy, the themes are vast but the picture is small, and the ensuing emptiness is what the characters are meant to feel – not us.
  42. The result is a minor picture with a major identity crisis -- it's sort of true and it's sort of bogus and it's ho-hum all the way through.
  43. 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.
  44. Like a lot of things about Zack and Miri, the porn title feels like it's trying too hard.
  45. This mannered, muddled drama about journalistic lapses and worse, crimes, stars comic buddies Jonah Hill and James Franco (This is the End) in a decidedly unfunny story.
    • 52 Metascore
    • 50 Critic Score
    It’s a shame that two gifted comedians weren’t given better material to work with.
  46. Let's just say that, when the parody looks indistinguishable from the parodied, something's gone awry.
    • 44 Metascore
    • 50 Critic Score
    While his sincerity is admirable, Pellington is reluctant to offer any ideas that are more theologically complex than 'Faith is valuable' and 'Life is for living.'
  47. A convincing, reasonably co-ordinated action movie. Nothing special, but lovers of the genre will enjoy the workouts, especially if they bring night-vision glasses.
  48. If you're a five-year-old, or the mental equivalent thereof, and love Saturday morning cartoons, the more violent the better, then Mouse Hunt may just be the movie for you.
  49. A lazy and mediocre movie, a sort of tepid parody blend of "The Breakfast Club" and "Invasion of the Body Snatchers."
  50. Today, the 1985 novel is the No. 1-selling paperback in North America. Sadly, the movie is a bonfire where the novel was a blaze of fireworks.
  51. Fur does what an Arbus photograph never would -- it leaves no room to imagine and removes any reason for doubt.
  52. Out of Time is severely out of whack, and the problem isn't hard to locate: It's all that flab in the thriller. It's a suspense flick so pillowy soft that the star gets bumped from the centre of the frame and the comic relief sneaks in to swipe the picture.
  53. What doesn't work so persuasively is Elkoff's script, particularly the overuse of voice-over.
  54. These Stooges-like antics are more about showing what good sports his stars are than honing any real satiric edge.
  55. What remains “indie” about At Any Price is that this is an unabashed social-message film – one that plays out like a cross between the agribusiness exposé "Food, Inc." and Arthur Miller’s "Death of a Salesman."
  56. Too often, the script collapses into what feels like improvisation, in which the characters find a kind of common ground: Infantilism.
  57. Strictly for the midnight-movie crowd, Drive Angry serves up a non-stop stream of female nudity, flying body parts, gun battles and smart-alecky dialogue.
    • tbd Metascore
    • 50 Critic Score
    While oil is still synonymous with unmitigated catastrophe, the documentary Gasland warns of the dangers lurking in natural-gas wells.
  58. The film has enough laughs to stock a 90-minute entertainment. Unfortunately it throws out enough material to fill five comedies. And most of the jokes die in silence, throwing off a flop-sweat tsunami that carries away Short's best work.
  59. Has a provocative, ticklish premise – five North England Muslims become suicide bombers, but can't decide who or what to take with them.
  60. Feels like one of those misguided high-school-teacher exercises in making literary history sound contemporary.
  61. As cinematic flops go, nothing falls quite as hard as a failed black comedy.
  62. All in all, Australia is so damnably eager to please that it feels like being pinned down by a giant overfriendly dingo and having your face licked for about three hours: theoretically endearing but, honestly, kind of gross.
    • 55 Metascore
    • 50 Critic Score
    For his feature film debut, Brandon Cronenberg has taken the decidedly uneasy route in more ways than one. First of all, Antiviral is a virtual panoply of high wooziness, replete with sweating, shakes, vomiting, rot-infected food and more needles piercing skin than rush hour at a free flu clinic.
  63. The stark direction, the brittle performances, the impoverished setting, the scatological dialogue, everything about the film screams out "Gritty social realism." Everything, that is, except the plot, which shouts "Eye-rolling melodrama."
    • 54 Metascore
    • 50 Critic Score
    One of those stupid movies that are good to relax with.
  64. Essentially a journey from point A to point B, a simple classic plotline on which to hang a collection of set pieces -- some delightful, some wacky, some tediously hackneyed.
  65. The proverbial seems awfully pale here. Fans of Q.T. will find it patently derivative. Fans of Elmore will find it, well, El-less.
  66. An exercise in competence guaranteed neither to offend the initiated nor to charm anyone else.
  67. 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.
  68. Falls into the category of heart-warming sports yarns, and, if television still made movies-of-the-week, it would enjoy a rightful home.
  69. Watching this is a feature-length exercise in frustration - comedy that promises to be amusingly black stays uniformly grey; sentiment that looks to be credibly bittersweet winds up badly soured. We're constantly tantalized and perpetually disappointed, but don't despair - there's one terrific bonus...Toni Collette.
  70. It can be accurately described as a loud soundtrack occasionally punctuated by the faint vestige of a plot. Or as a lush travelogue that sometimes gives way to sporadic bursts of chirping dialogue.
    • 52 Metascore
    • 50 Critic Score
    It’s probably accurate in its portrayal of her general good humour. Detractors would be surprised at how genuinely funny she can be.
  71. Clearly, the screenplay is looking for some black comedy here, but Foster's direction is too earnest to locate it.
  72. Sorry, but this level of insight is readily available from daily news reports.
    • 66 Metascore
    • 50 Critic Score
    There might be a pretty good film lurking in this latest dramedy from the veteran Scottish directing-writing team of Ken Loach and Paul Laverty. I use the conditional because at least half the dialogue is delivered in a Glaswegian Scots so thick, it might as well have been Urdu.
  73. The plot is stale though some of the moves are fresh.
  74. 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.
  75. With a couple of more drafts to mend the plot holes and restructure the middle act, Awake could have been saved.
  76. 3 Days to Kill is a comic variation on the "Taken" movies, which Besson also co-wrote and produced, starring Liam Neeson as a daughter-rescuing spy.
  77. The Lost Skeleton also reminds you that real filmmaking -- the illusion of one event following another -- is actually a skill.
  78. It's always rather sad to watch gifted performers stranded in a tepid thriller. You can see them, as professional pretenders, trying to believe that they're creating a character, but the lie is transparent -- all they're really doing is advancing a retarded plot.
  79. No doubt the audiences in the Coliseum would offer a thumbs-up to the scale of the destruction, though even they might have had some quibbles about the special effects, which, too often, resemble a very large pile of melting crayons.
  80. In the shock department, the ante has been upped, way up, and a mere kitchen knife through a shower curtain just doesn't cut it any more.
  81. If this is meant to look fresh while still being sensitive, it doesn't and it isn't.
  82. Though complete redemption of Brown's fiction may not be possible, Howard's new film at least represents an upgrade from a mortal to a venal movie sin.
    • 37 Metascore
    • 50 Critic Score
    So yes, if you’ve seen "The Bible," you’ve already seen most of Son of God – but if there’s one story where spoilers just don’t apply, it’s the Greatest One Ever Told.
  83. Ultimately, his (Silver) film settles for a queasy mix of high-toned intentions and commercial compromises.
  84. Perhaps too much energy was spent on being stylish rather than simply low-rent horrifying. The upshot is not very stylish and not very scary.
  85. A painfully predictable movie.
  86. Instead of a madcap farce, the movie grinds along into a series of laboured comic bits.

Top Trailers