The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,860 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 Edward Scissorhands
Lowest review score: 0 Never Again
Score distribution:
3,860 movie reviews
  1. It's all meant, I suppose, to conjure up cold visions of Terminators and Robocops past, or, in this post-9/11 world, of bin Ladens and Bushes present. If so, conjure at will.
  2. I wouldn't say this is laugh-out-loud risible, but there are definitely moments. Still, you might want to consider sitting through the uneven thing just to get to the ending, because that's quite something. You may love it, you may hate it, but forget it you won't.
    • 63 Metascore
    • 50 Critic Score
    Occasionally engaging but very chaotic movie.
  3. With a couple of more drafts to mend the plot holes and restructure the middle act, Awake could have been saved.
  4. These characters don't seem illuminating at all – just damned annoying and, ultimately, dead boring.
  5. As for children's entertainment needs, well, having seen both "The Golden Compass" and Alvin and the Chipmunks with a full theatre of four- to 12-year-olds, this reviewer is honour-bound to report that Alvin wins the kids' vote, paws down.
  6. Director Rob Reiner is betting that their star power alone will blind us to the holes in this cheesecloth of a script. It proves a fool's bet – no star shines that brightly.
  7. All of this unfolds with such predictability, the title might as well be The Great Foregone Conclusion.
  8. This sappy thing is a two-hour cheat that never plays fair for a nanosecond.
  9. The pocketing of tired bills headed for the shredder, the producing of tired movies headed for the theatre -- it's all just recycling.
  10. Almost everything about this starring vehicle for Katharine Heigl feels borrowed from some previous romantic comedy.
  11. Except for one memorable interlude, the film just doesn't have near enough fun blasting spitballs at "Pirates of the Caribbean."
    • 32 Metascore
    • 50 Critic Score
    While the punishments and triumphs are absolute, the entertainment value is highly equivocal. This ultimately relegates Untraceable to the ranks of so-so thrillers with legitimate but half-developed intellectual aspirations. And since you inspired the movie in the first place, part of the responsibility rests on, well, you.
  12. Audiences can watch any number of similarly talented comics on late-night television or, even better, get close to the action at a downtown comedy club.
  13. Our mission, should we choose to accept it, is to guess which gal became the wife, which gal should have become the wife and which gal is there just to play with our heads. It's exactly like that old shell game – mildly diverting, pea-sized and otherwise hollow.
  14. Woefully short on script, the picture ends up disappearing down the wormhole of its own premise.
  15. Quaid and Whitaker, who serve more or less as the designated humans in this clockwork contraption of a film, are capable in corny roles, but otherwise Vantage Point is as stuffed with cardboard performances and expositional speeches as any seventies disaster flick.
  16. 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.
  17. Come to think of it, Ferrell is to the sports comedy what the Toronto Maple Leafs are to the hockey biz: Hard-core fans are sure to show up and find reasons to be amused. The rest of us can only hope for better days.
  18. The whole picture plays like a pop-up book in a welfare agency.
    • 41 Metascore
    • 50 Critic Score
    Drillbit Taylor brings Seth Rogen's hot streak to a sudden halt.
    • 45 Metascore
    • 50 Critic Score
    Perry's methods are never subtle, but no contemporary filmmaker works harder to make sure ribs are tickled and tears are jerked.
    • 48 Metascore
    • 50 Critic Score
    Its peculiar strain of anti-Americanism aside, Run, Fat Boy, Run tries to bridge the gap between self-deprecating Brits and self-aggrandizing Yanks, settling down somewhere between the two. Don't ask me where, exactly, but this mid-Atlantic meeting point is an ultra-neutral zone.
  19. 21
    What a big cheat of a movie. Wanting to be everything to everybody – a tough gambling picture, a revenge-of-the-nerds fantasy, a Vegas caper flick, a sweet little romance, a simple morality tale – 21 is just a bet-hedger dealing from multiple decks, designed to leave you with an occasional tidbit to like but nothing at all to love.
  20. With the release of Stop-Loss, a precedent of sorts has definitely been set. If we've yet to see a brilliant Iraq movie, the wait is over for a bad one – this is it.
    • 33 Metascore
    • 50 Critic Score
    Puerile and idiotic it may be, but Superhero Movie is nonetheless smarter than most of its lowbrow brethren in the Hollywood sub-sub-category known as the spoof movie.
  21. Leatherhead's a comedy of stock setups and kooky digressions in which nothing really comes to a head, and running at close to two hours, it lacks the essential brevity of the form.
  22. Even with dyed hair, heavy makeup and a cigarette dangling from her bottom lip, Portman still looks like a schoolgirl pretending to be somebody's mom.
  23. As cinematic flops go, nothing falls quite as hard as a failed black comedy.
  24. Quaid doesn't have much to work with, and so deflects the portrayal away from the mind toward the body – consistently giving the coot a hunched, pigeon-toed gait. Nice try, but that bird won't fly.
  25. A bad-cop, worse-cop movie.
    • 45 Metascore
    • 50 Critic Score
    Exasperating and goofy documentary.
  26. A painfully predictable movie.
  27. No, there isn't anything wrong with comfort entertainment. Then She Found Me could have, should have been something special - a "Knocked Up" for weary boomers. The only hitch is that it isn't all that entertaining. Nor comforting for that matter.
  28. There's something here for everyone to dislike - the whole clan can have fun making fun of this thing.
  29. The wee mousie is fun, all right, yet like the occasionally ragged editing, the fun just gets haphazardly wedged in.
  30. Conducting another symphony in action, Spielberg seems a bit bored – always competent but never inspired – and who can really blame him? He tries to fire his interest by swiping a few tropes from the fifties pop bin, not-so-sly allusions to teen-trash movies and those McCarthy-era horror flicks. After that, there's really nowhere to go but inwards, which is when Spielberg starts looting Spielberg.
  31. One of those international co-productions full of good intentions and blandly polished results.
    • 55 Metascore
    • 50 Critic Score
    Conclusions and answers are perhaps luxuries that Sharma's film can't afford.
  32. Yes, the Empire may be crumbling, and the natives getting restless, but it's all happening with such lyrical loveliness - even the corpses look good. Consequently, when the rains in Before the Rains finally arrive, there's nothing to cleanse, no real dirt to wash away - not with history already so neatly packaged and polished to a dull shine.
  33. Playing characters familiar to the fans, we have William Hurt as a blustering general, Tim Blake Nelson as a kooky scientist and Tim Roth as an evil soldier who morphs into a monster. All of them seem to be directing themselves.
  34. History repeats itself, the first time as tragedy, the second time as farce, Karl Marx said. That might explain the possibility of even making a movie such as Stuck.
  35. 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.
  36. The story is shockingly ordinary. The movie plays like an extended mediocre episode of the X-Files TV show or, for that matter, even a contemporary crime series such as CSI.
  37. A meagre, occasionally funny affair.
  38. Tropic Thunder is an assault in the guise of a comedy – watching it is like getting mugged by a clown.
  39. 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.
  40. A sequel that immediately picks up the plot of its predecessor, and then proceeds to drive the redeemed franchise right off the deep, dark end.
  41. It's kind of fun but the twists and turns are all too familiar.
  42. As in so many essentially childish movies, it's an actual child who's always the smartest pants in the room.
    • 56 Metascore
    • 50 Critic Score
    For all of its intermittent, crowd-pleasing charm, oenophiles (and cinephiles, for that matter) might be better off putting their money toward a good bottle of Robert Mondavi.
  43. More rant than rollick, it's just ain't funny enough.
  44. A pleasant flick, more suitable for families than football fans.
  45. Let's just say that, when the parody looks indistinguishable from the parodied, something's gone awry.
  46. Though competent in its B-movie way, Terminator Salvation lacks the humour, heart-tugging moments and visual pleasure that made the first two movies of the series modern pop masterpieces.
  47. W.
    None of it is new, nor is the recycled stuff presented in a newly revealing context.
  48. What a shame that The Spirit isn't nearly as good as it looks.
    • 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.'
  49. Traitor becomes too busy, ultimately frustrating, and never delivers on its tantalizing promise of offering a little insight into terrorists' motives – and it's even got an inside man.
  50. Unfortunately, both Bridges and Anderson are only intermittently in the movie. And when they're not around, How to Lose Friends loses its satirical edge, becoming an alarmingly safe, almost corny romantic comedy.
  51. The sickly feeling that Body of Lies leaves at its conclusion isn't just about the brutality of its subject; it's the realization that real-life barbarism translates so easily into adrenaline kicks for the multiplex.
  52. Both original and good; the problem is the original parts aren't good and the good parts aren't original.
  53. With less expensive actors, it might just have been called Chase Movie, and played for laughs.
  54. 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.
  55. Throughout, Terence Blanchard's score swells and sweeps, reminding us, at every moment, what we're supposed to feel. If only we knew what we were supposed to think of this trite mess.
  56. What is puzzling is how Edward Zwick has taken an extraordinary real-life story about a handful of people who defied huge odds, and turned it into an utterly conventional war movie.
  57. Doesn't work because it isn't much of a ride. The action scenes are strictly by rote. The incidental characters are all incidental.
  58. For all its current political incorrectness, the original film at least attacked hypocrisy; this one practises it.
  59. A talented cast and moments of brutal violence can't dislodge a sense of ho-hum predictability in Pride and Glory.
  60. In pairing the two icons, Righteous Kill is definitely an event. What it isn't is much of a movie. Such a waste.
  61. Any one of these narrative components might have made for a worthy picture. But that would have taken a more imaginative writer than Charles Leavitt and a more sensitive director than Gary Fleder.
    • 35 Metascore
    • 50 Critic Score
    An occasionally inventive but ultimately plodding horror film.
  62. Should be a brilliant picture, one last testament to the intertwined sensibilities of two brave artists. Should be, but isn't.
  63. 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.
  64. Near the end of the movie, Django jokes that, after the protests, people may still not know what the WTO is, but "they know it's bad." That's a fair summation of how much insight Battle in Seattle provides for its viewers.
  65. Sometimes sensitive and often silly but really, essentially, beneath his pallor and her panting and their intertwined frustrations, it's just two long hours of coitus interruptus.
  66. Maybe this stuff works on the page, in Chuck Palahniuk's darkly comic novel, but Choke is awfully tough to digest on the screen.
  67. If you're going to a no-frills action film, though, at least you want the action to be entertaining, which is where Transporter 3 falls down.
  68. By the time the film reaches its big mushy climax, in which the slackers discover their inner caring during a dopey medieval role-playing battle, the movie starts to feel something like a pleasure again.
  69. If this is meant to look fresh while still being sensitive, it doesn't and it isn't.
  70. Max Payne, game or movie, has precious little to say.
  71. If you like your sentimentality sweet and sticky, then The Secret Life of Bees is definitely your jar of honey.
  72. Barrymore's charm helps make Beverly Hills Chihuahua a congenial family outing.
  73. Here, there's not much that's funny, there's too much that's too clever by half, and there's not a damn thing that's lively - this is a film about Life whose sin is its lifelessness.
  74. The movie is like a glass of Sprite that has been left on the counter too long: transparent, sweet and flat.
  75. Like a lot of things about Zack and Miri, the porn title feels like it's trying too hard.
  76. Had Crossing Over chosen to tell one of them well, rather than seven badly, it would have made for a fine movie. Instead, all we get is a mess of good liberal intentions loosely anchored to a mass of pure Hollywood hokum.
  77. As a message movie, it's preachy without being serious; for an action movie, there's a lot of racket but not much fun.
  78. So why, despite everyone's best efforts, does all this bigness seem so small and unfocused and simply not up to the task?
  79. Delgo is blocky and hastily coloured in. Characters are stiff; there is little variety in movement. It's a cheapo product ideally suited for a Saturday-morning pyjama vigil in front of a small screen. And the film suffers from a poverty of imagination to boot.
  80. Gran Torino skids into the narrative ditch. By the time it jolts to an ending, followed by Clint rasping a tune to the closing credits, you're more likely to be rolling your eyes than dabbing them.
  81. 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.
  82. Yes Man puts him back in the same old quandary and, once again, Carrey lacks an identity. Alas, this time, he also lacks a script.
  83. There's a head-pounding, gob-smacking literalness to this flick, extending from the title right through to the recurring imagery.
  84. The movie is a freakish creature, with lush, painterly animation inspired by Dutch and Flemish masters, attached to a convoluted, gloomy narrative punctuated with scenes of sadism that rival "The Dark Knight."
  85. Bedtime Stories does divide into two types of comedy: There's the story comedy, in which Skeeter dresses in costume when he performs slapstick and insults people, and then there are the real-life scenes, when he does the same things in regular clothes.
  86. Distinctly middling, London-set romance.
  87. At two hours and 34 minutes, CC2C is too much by a half: too much dancing and fighting and too much footage of the Great Wall of China. It does, however, have a vulgar energy and many of the jokes work.
  88. Notorious isn't, not even remotely.
  89. Thanks to a tight script and brisk pacing from director Steve Carr (Daddy Day Care, Dr. Doolittle 2), there's little fat in Mall Cop, save the a yawn-inducing parade of fat-guy jokes.

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