The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,743 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: 59
Highest review score: 100 Toy Story
Lowest review score: 0 The Adventures of Baron Munchausen
Score distribution:
3,743 movie reviews
  1. If this is meant to look fresh while still being sensitive, it doesn't and it isn't.
  2. Max Payne, game or movie, has precious little to say.
  3. If you like your sentimentality sweet and sticky, then The Secret Life of Bees is definitely your jar of honey.
  4. Barrymore's charm helps make Beverly Hills Chihuahua a congenial family outing.
  5. 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.
  6. The movie is like a glass of Sprite that has been left on the counter too long: transparent, sweet and flat.
  7. Like a lot of things about Zack and Miri, the porn title feels like it's trying too hard.
  8. 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.
  9. As a message movie, it's preachy without being serious; for an action movie, there's a lot of racket but not much fun.
  10. So why, despite everyone's best efforts, does all this bigness seem so small and unfocused and simply not up to the task?
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. There's a head-pounding, gob-smacking literalness to this flick, extending from the title right through to the recurring imagery.
  16. 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."
  17. 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.
  18. Distinctly middling, London-set romance.
  19. 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.
  20. Notorious isn't, not even remotely.
  21. 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.
  22. As for the locals, they speak like extras from "Fargo," although, on this go-round, that weird Swedish accent has somehow lost its power to amuse.
  23. 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.
  24. The story, of course, is a line on which to pin the comic set-pieces, and that's where Pink Panther 2 comes up lustreless. Zwart has no discernible sense of comic rhythm, beyond managing to punctuate scenes with a wall crashing in.
  25. 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.
  26. Turns out a movie about an infatuated bunch of Star Wars nerds can really set your teeth on edge.
  27. Despite an evident appetite for mayhem, however, Bay is not the right guy to produce slasher movies. Horror requires intimacy.
  28. An action thriller with some decent action and a few thrills, but all embedded in a yarn so hopelessly tangled that even the loose threads have knots.
    • 31 Metascore
    • 50 Critic Score
    The movie has a sharper and more acerbic screenplay than you normally find in bargain-basement, D-list teen comedies.
  29. Those Hollywood tricksters have managed to shorten the story while slowing the pace -- all of a sudden, minutes are passing like hours.
  30. Fighting is a crude love letter to seventies' New York cinema but set in the present.
  31. Astro Boy definitely sets himself up for a sequel, and the overall scenario is ripe to explore many current issues. But let's hope the creators trade in the well-used parts for some fresh material.
  32. Young male earthlings should like everything about Race to Witch Mountain. Just make sure you race your caffeinated charges to the washrooms right after the movie to defuel so there won't be any accidents on the space shuttle home.
  33. An entertaining, moderately irreverent comedy that launches the silly movie season on a sure foot.
  34. 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.
  35. It's like an elevated form of sitcom acting, which may be inevitable because this movie, and all its quirky/heartfelt kin, are an elevated version of the sitcom itself.
  36. The old carnival phrase "Close, but no cigar" comes to mind when watching The Brothers Bloom , a globetrotting heist film that starts off terrifically and then progressively deflates.
  37. Like its predecessors, Under the Sea is family-friendly viewing -- the great white shark swims by, as opposed to tearing prey to shreds. Its goal is to show biodiversity and offer information on how reefs grow, reminding us of threats to these environments.
  38. Brian and Dom could drive from L.A. to Mexico City and back blindfolded, but would require a GPS to find the zipper of a dress. The only time they smile here is when they are alone in a garage, tinkering with their dream cars.
  39. Bursting with potential that never gets realized.
    • 45 Metascore
    • 50 Critic Score
    Not only does the 3-D format grant you a front row seat at this Jonas Brothers concert, but it puts sweet, sweaty Joe (he's the cute one) practically in your lap. For most JoBro fans, that alone is worth the price of admission.
    • 41 Metascore
    • 50 Critic Score
    A catalogue of made-in-America delusions, hallucinations and cosmic catastrophes that draws on environmental fear-mongering in one reel and evangelical lore the next.
  40. 12
    Yes, Mikhalkov has set himself quite the agenda, but in the end the film is too much of a piece with its topic, intensely fascinating yet seriously flawed. The verdict? Guilty, with extenuating circumstances.
  41. Rude, lewd and occasionally in the nude, The Hangover brings a collection of fresh faces to the familiar raucous male-bonding comedy.
  42. Despite the 3-D gadgetry, there's a musty odour to the script.
  43. 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."
  44. What doesn't work so persuasively is Elkoff's script, particularly the overuse of voice-over.
  45. There's a whole lot of "American Beauty" and "The Ice Storm" packed into Lymelife.
  46. 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.
  47. One of those comedies that is more peculiar than actually funny.
  48. The plot feels both familiar and far-fetched.
  49. This mix of titillation and sentimentality can pass as family entertainment because 17 Again is so weightless, a succession of one-liners, sincere monologues and logical absurdities.
  50. Superficial but giddily entertaining backstage documentary.
  51. As a drama, The Soloist is stuck before it starts.
  52. Only a few events happen in this minimalist film, and most of them keep getting repeated through most of its running time.
  53. Anyone interested in hearing the artist's heart-to-hearts properly translated is encouraged to seek out Leonard Cohen's flamenco serenade, "Take This Waltz."
  54. It's really a lazy comedy that is content telling a crude and corny Hollywood story with a Mexican accent.
  55. 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.
    • 42 Metascore
    • 50 Critic Score
    Unfortunately, once these creatures do come to life for a second outing, the promise soon evaporates and the clever comedy, built largely on crisscrossing anachronisms and various sly cultural references, is not enough to sustain a romp that is all rather predictable.
  56. Yes, the premise is delightful; no, the delight doesn't last.
  57. 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.
  58. It's an action-comedy. It's in 3-D. There's a video-game tie-in. Throw in a fluorescent Slushie from the candy counter and your eight-year-old will be in heaven.
  59. 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.
  60. Ultimately, even Lee appears to lose interest, flashing none of his usual visual panache and, at the end, content to forego any considered conclusion for a hunk of lumpy irony.
    • 34 Metascore
    • 50 Critic Score
    This paint-by-numbers romantic comedy is chock-a-block with jokey stereotypes – Americans are obnoxious, Canadians polite, and the Greeks just dance – yet lacking in any real drama, only occasionally mustering enough charm or humour to rise above a predictable formula.
  61. Perhaps the young performers are in such a good mood because they're liberated from having to play straight-as-a-ruler teen melodrama.
    • 60 Metascore
    • 50 Critic Score
    Apatow wants to be taken seriously. Funny People is the attempt to raise his game a notch – and it fails.
  62. 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.
  63. Less an adaptation of its source material than a therapeutic response to it.
  64. Perhaps the most regrettable crime here is the way that Mann, trying to do too much, robs himself of a great opportunity. Here was a chance to capture the drama of the Thirties.
  65. An efficiently engineered piece of studio product, enjoyable enough at times, but with an unmistakable assembly-line quality.
  66. Taken on its own, this is a masterful little slice of computer-generated animation, but it gets lost here in the visual racket.
  67. Orphan descends into a formulaic bloodbath that barely registers a pulse.
  68. Shot in country fields and interiors of fading Georgian glory, Easy Virtue has enough traces of Coward's wit to keep you hoping for the first hour or so, but then the film collapses under the weight of too many misguided innovations.
  69. Departures is, well … a nice film. It breaks no new ground, offers no audacious insights or rude revelations.
  70. An Eddie Murphy comedy that's actually endearing.
  71. So Dead Snow fulfills one zombie-movie prerequisite. It's different.
  72. 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?
  73. What's so distressing about Michelle Pfeiffer taking a mooning calf for a lover, though, is that it robs her of the quality that has always made her such an interesting actress.
  74. Though The Stoning of Soraya M.'s heart is in the right place, its head is lost in storm clouds of anger.
  75. Accepting the final twist of The Girl From Monaco depends on whether you're in the mood.
  76. Brüno is likely to be the funniest thing you'll see on a screen this summer. Which is precisely its problem: it's a thing , not a movie – if, that is, you believe a movie should be more than an accumulation of prankish set-pieces flimsily strung over 80 skimpy minutes.
  77. Amelia is the Mack truck of flight. Heavy and lumbering, it delivers the goods, but there's not an ounce of magic in the thing.
  78. 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 .
  79. Was it worth slogging through the nearly two hours of damned muddle to get to those last affecting moments? Not often in movies is the destination so much better than the journey.
  80. Aniston's constituency will enjoy seeing her again in Love Happens . She's lovely and fun to be with, as always.
  81. The Time Traveler's Wife slips the romance cards into a stacked deck – read 'em if you will, but no need to weep.
  82. Guy Ritchie's Holmes reboot feels both too complicated and too elementary, dear Watson.
    • 54 Metascore
    • 50 Critic Score
    This breach with the audience does matter, for it is one thing to seduce your viewers and quite another to trick them. Love is all about trust, after all.
  83. The trouble is, once you get past the historical information and chummy interviews, you have to put up with the inevitable risk of any ad-hoc jam session: It Might Get Boring.
    • 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.
  84. Were it not for the fine engaging performances of both Dancy and Byrne, Adam would be sickly sweet.
  85. Lack of sparkling teen chatter prevent this movie from being a slam dunk.
  86. The result is infotainment dressed up as an art flick. Turkish society is fascinatingly complex and its East/West tensions give rise not to easy allegories but to hard ambiguities. To explore that truth, read any novel by Orhan Pamuk. To escape it, watch Bliss.
  87. Cold Souls begins to lose its comic focus, however, when Giamatti comes to realize that he needs his soul back.
    • 43 Metascore
    • 50 Critic Score
    One of the best things about this film is that ultimately nobody in it is attractive.
  88. As a statement on capitalism or anything else, Capitalism: A Love Story is often embarrassingly simplistic, self-contradictory.
  89. 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?
  90. Actress Kristen Stewart – coolly intense, androgynous, and intelligent – remains the series' strongest asset, as Bela, the emotional centre of the story.
  91. The result is an erratically funny but often frustrating comedy, with an interesting premise hobbled by internal inconsistencies and uneven writing.

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