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 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 Sex and the City
Score distribution:
4,041 movie reviews
  1. The melodrama is uncomfortably high; the checked-box plot is manipulative.
  2. It's a slacker flick, it's a relationship pic, it's a road movie all under the same hood.
  3. Winnie begins as hagiography and ends in hellish confusion.
  4. 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.
  5. Though elegantly staged, Silk is badly written and indifferently cast.
  6. 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.
  7. In pairing the two icons, Righteous Kill is definitely an event. What it isn't is much of a movie. Such a waste.
  8. 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.
  9. 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.
  10. The trouble with Undiscovered isn't that it's actively annoying but it's so dramatically listless it seems determined to become Unremembered.
  11. 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.
  12. 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)
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. Like a lot of things about Zack and Miri, the porn title feels like it's trying too hard.
  18. 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.
  19. 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.'
  20. 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.
  21. 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.
  22. A lazy and mediocre movie, a sort of tepid parody blend of "The Breakfast Club" and "Invasion of the Body Snatchers."
  23. 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.
  24. Fur does what an Arbus photograph never would -- it leaves no room to imagine and removes any reason for doubt.
  25. 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.
  26. What doesn't work so persuasively is Elkoff's script, particularly the overuse of voice-over.
  27. These Stooges-like antics are more about showing what good sports his stars are than honing any real satiric edge.
  28. 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."
  29. Too often, the script collapses into what feels like improvisation, in which the characters find a kind of common ground: Infantilism.
  30. 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.
  31. 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.
  32. Has a provocative, ticklish premise – five North England Muslims become suicide bombers, but can't decide who or what to take with them.
  33. Feels like one of those misguided high-school-teacher exercises in making literary history sound contemporary.
  34. As cinematic flops go, nothing falls quite as hard as a failed black comedy.
  35. 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.
  36. 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.
  37. 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.
  38. The proverbial seems awfully pale here. Fans of Q.T. will find it patently derivative. Fans of Elmore will find it, well, El-less.
  39. The nature of this fantasy is boringly feel-good and aspirational.
  40. An exercise in competence guaranteed neither to offend the initiated nor to charm anyone else.
  41. 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.
  42. Falls into the category of heart-warming sports yarns, and, if television still made movies-of-the-week, it would enjoy a rightful home.
  43. 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.
  44. 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.
  45. Clearly, the screenplay is looking for some black comedy here, but Foster's direction is too earnest to locate it.
  46. 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.
  47. The plot is stale though some of the moves are fresh.
  48. 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.
  49. With a couple of more drafts to mend the plot holes and restructure the middle act, Awake could have been saved.
  50. 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.
  51. Every scene is perfectly framed, every symbol lovingly shot, but the story and the characters remain opaque.
  52. The Lost Skeleton also reminds you that real filmmaking -- the illusion of one event following another -- is actually a skill.
  53. 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.
  54. 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.
  55. 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.
  56. If this is meant to look fresh while still being sensitive, it doesn't and it isn't.
  57. 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.
  58. Ultimately, his (Silver) film settles for a queasy mix of high-toned intentions and commercial compromises.
  59. 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.
  60. A painfully predictable movie.
  61. Instead of a madcap farce, the movie grinds along into a series of laboured comic bits.
  62. There are lively, compelling scenes, particularly in the first hour - Raimi has an indubitable talent for camp mayhem - but the picture escalates into absurdity and the last half hour, essentially a chase sequence, is marred by suprisingly cheesy special effects. [24 Aug. 1990]
    • The Globe and Mail (Toronto)
    • 54 Metascore
    • 50 Critic Score
    It’s a timely narrative subject, but its treatment in The Reluctant Fundamentalist is fundamentally flawed.
  63. Although I haven't read Nights in Rodanthe, I have to assume there is material in the book that would have helped the movie make hearts thud instead of fingers tap.
  64. Like the first movie, Princess Diaries 2 relies primarily on the chemistry and screen appeal of Andrews and Hathaway to elevate the storytelling above the level of mush.
  65. Frozen would get props for a novel plot, except that its storyline appears to be ski-lifted from the "Curb Your Enthusiasm" episode where Larry is stuck on a chairlift with an Orthodox Jewish woman who is terrified of being seen with a man after sunset.
  66. Providing expectations are kept low, there’s some fun to be had in the elaborately preposterous action set-pieces, and especially Jason Patric’s campy performance as the movie’s villain.
    • 60 Metascore
    • 50 Critic Score
    Michael Shannon is an overpowering actor, and in The Iceman, the best that he can do is wrestle the movie around him to a stalemate.
  67. The Last Witch Hunter is redeemed through complex visual-effects work that aptly illuminates Goodman’s netherworld. Further, Diesel’s stolid performance is balanced through the supporting star power of Caine – even with criminally limited scenes – and Rose Leslie’s “dream walker,” whose earnestness makes even the world of a macho witch hunter seem entirely plausible.
  68. Remember the final page of Gatsby, a real American tragedy, when the green light beckons us into an ever-receding future? Now that was a mystery. This is, well, Pittsburgh.
  69. Funnier than any movie called Hot Tub Time Machine has a right to be. And how funny is that? Not very, but a little, occasionally – just enough.
  70. From the base-model script to the assembly-line thrills, everything about Hide and Seek is generic except its star.
  71. Most of the personality work in the film is left to Steve Zahn.
  72. Having seen the TV series "Hogan's Heroes," we already know that a German prisoner of war camp can be cartooned; Hart's War goes further as a cartoon that takes itself seriously.
  73. If nothing else (and there isn't much else), Part III rises above the wholesale clutter of its immediate predecessor, then contents itself with settling into an easy commercial groove. What remains is amiable kid's stuff, as sweetly forgettable as an orange Popsicle on a summer's day. [25 May 1990, p.C4]
    • The Globe and Mail (Toronto)
  74. Let's start with this certainty: No one but Quentin Tarantino could possibly have made Inglourious Basterds . Now add another: No one but his most ardent fans will be entirely glad that Quentin Tarantino did make Inglourious Basterds .
  75. Despite its trappings, despite its style, Birth is just a tall tale with a short reach.
  76. Adolescent boys will savour My Way's bombast and solemnity. Cringing adult audiences will more likely beat a retreat before final call.
  77. As it exists, Tenacious D in the Pick of Destiny is strictly for the tenaciously devoted.
  78. 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)
  79. Gruesome enough; what it lacks is a distinctive revolting personality of its own.
  80. The movie feels like something parents want their kids to see. Harold and Kumar wouldn't want anything to do with Beth Cooper or Denis Cooverman. You're probably not going to like them much either.
  81. Overall, Stalingrad is a bizarre concoction, part Putin-era patriotic chest-thumping and part creaky war melodrama, all set in a superbly recreated ruined city.
  82. A try-anything, fitfully amusing muddle that wears its mocking cynicism a bit too proudly.
  83. After seven trips made over four years, the production was about to wrap when the crew, aboard an icebreaker, encountered a polar bear mom and twin cubs that decided to hang around for a week – offering a rare opportunity to film the daily life of these notoriously camera-shy creatures.
    • 69 Metascore
    • 50 Critic Score
    Fault is at heart a full-throttle, by-the-numbers tearjerker.
  84. Great cast, too bad about the movie.
    • 55 Metascore
    • 50 Critic Score
    Easily the daffiest movie you've ever seen that also references incestuous role-playing games.
  85. Almost everything about this starring vehicle for Katharine Heigl feels borrowed from some previous romantic comedy.

Top Trailers