The Globe and Mail (Toronto)'s Scores

For 4,441 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Ida
Lowest review score: 0 Senseless
Score distribution:
4441 movie reviews
  1. 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.
  2. 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.
  3. There's a whole lot of "American Beauty" and "The Ice Storm" packed into Lymelife.
  4. The result is nothing if not a curiosity piece.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. The movie meanders on and on, like a bad sexual dream, until you finally wake up mumbling: Stella, please: leave that groove thang alone.
  10. 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.
  11. 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.
  12. 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.
  13. Only an actor of Moore's calibre could begin to add a bit of credible flesh to these hallowed bones.
  14. How to Eat Fried Worms arrives just in time to placate preteen boys who resent being unable to see the frankly more adult though equally immature "Snakes on a Plane."
  15. Just a mediocre action franchise with a solid actor at the head and a travelogue in its heart.
  16. Trachtenberg gives a sweetly compelling performance as Casey, as does the wonderfully kooky Cusack as her mother, but their charms are not enough to save this painfully unoriginal movie from coming out of a triple toe loop and landing flat on its bottom.
  17. In its defence, the movie means to incorporate Jet's conversion into its theme, serving up his new pacifism as a choice morsel of irony. But it doesn't taste ironic, just bland, and we aren't biting either.
  18. Hard-working to a fault, this is a movie that's all effort and no direction, a movie completely lacking in what its hero eventually finds -- a sense of identity.
  19. Your basic and basically predictable by-the-numbers picture.
  20. So it's a pretty faded experience. I suggest you get out the books, which for once can truly be said to be more spectacular than the movie.
  21. A movie with a confident sense of its own worthlessness, it speeds by in a flurry of candy-coloured cars, bare midriffs, screaming engines and a pulsing rap soundtrack.
  22. A meagre, occasionally funny affair.
  23. Has a deliberately minimalist, retro look to it as well.
  24. They're not much company, our Marcus and Esca. But there we are, mucking through crazy Scotland with them.
  25. By turns raw, naturalistic and indebted to John Cassavetes, both stylistically and thematically.
  26. Coming from a major director like Spike Lee, this is a colossal disappointment. And a surprising one.
  27. Yes, it's "The Devil Wears Prada," redux.
  28. Regrettably, the film’s place-setting opening lays the scene for a different, more exciting film that never really unfolds.
  29. The 3-D is a pain, and the excitable editing, slo-mo and speeded-up action frustrate attempts to watch the athleticism on display, but the last half-hour takes it up a notch.
    • 51 Metascore
    • 50 Critic Score
    Even though the presence of such political and social nuances is largely inconceivable in an American romantic comedy, they only make this busy, blustery film seem more muddled.
  30. For all its current political incorrectness, the original film at least attacked hypocrisy; this one practises it.
  31. What promised to be a teen screwball comedy with a supernatural twist soon descends into special-effects overkill and camp acting from the overqualified supporting cast.
  32. Falling in the pillowy cleavage between mildly awful and slightly entertaining, Burlesque is a clichéd rags-to-diva story that culminates in a series of Christina Aguilera videos.
  33. Only a few events happen in this minimalist film, and most of them keep getting repeated through most of its running time.
  34. Certainty, then, is the watchword, and you can be certain of three things: There will be plenty of juvenile energy to power the vehicle; there will be a few mild chuckles en route; there will be no reason to remember the ride the instant it ends.
  35. The movie is nothing if not anxious to please. There's a big, diverse, celebrity voice cast – Maggie Smith, Hulk Hogan and Dolly Parton as well as Caine and Osbourne.
  36. Stay is all dressed up with no place to go, an eye-popping exercise in lavish style unattached to any discernible content.
  37. If Jobs had been a producer on Jobs, he would have sent it back to the lab for a redesign.
    • 59 Metascore
    • 50 Critic Score
    If you call your movie this, you’re kinda asking for it. Some rules should apply. For example, characters should make a little sense, so when they behave in “unpredictable” ways, we can tell. But Warren Beatty, back in the director’s chair after 18 years, has gone rogue.
  38. RSVP: Decline with regret.
  39. Unlike the smarter "Maleficent," a revisionist Sleeping Beauty created by the same producers, what The Huntsman series lacks is any intriguing psychology.
  40. Most of this is blandly palatable, at least for the first half. Cyrus, though she seldom strays from her two primary modes, pouting rebel or toothy girlfriend, has a winning on-screen presence, if only for her enjoyably abrasive edge in this deep well of pathos.
  41. Halfway through, everyone starts drinking heavily and the film turns into agreeably sloppy fun. (Isn't that always the way – class reunions often perk up when someone spikes the punch.)
  42. While Lawrence doesn't come close to the fireworks wit and satire of Pryor in his postfreebase-accident film, "Live On The Sunset Strip," his riveting story saves Runteldat from becoming just a routine slapped on the big screen.
  43. So, fans, gear up for rock-em-sock-em action, yet don’t be disappointed if much of the goonery seems a bit tepid and, dare I say, staged.
  44. Park is busy treating every frame like a runway model, dressing it up in self-conscious layers of cinematic haute couture. It’s gorgeous to gaze upon but otherwise dessicated – listless, juiceless and ultimately pointless. For all his exemplary camera work, there’s no motion, or emotion, in the picture.
  45. This time, Tykwer somehow manages to turn Eggers’s attempt at an era-defining story into a weird little cross-cultural comedy with romantic overtones while remaining largely faithful to the original plot and dialogue. Here, globalization’s economic devastation is just a nice backdrop for some amusing – and, thankfully, inoffensive – observation of one American abroad.
  46. The effect of so much pretension and so many lovely images eventually becomes soporific.
  47. Though by no means a good movie, The Internship floats along for fairly well for about half its length, thanks to the easy interplay between the two stars and a certain melancholic topicality.
  48. Damned if this sugary confection doesn't come with a creepy crust. the odd sense that these aging boomers, ever eager to stall the march of time, are competing with their own daughter in the maternity sweepstakes - I'll see your child, and raise you one. [8 Dec 1995, p.C1]
    • The Globe and Mail (Toronto)
  49. The problem is not that the director is working but that his latest film is working too hard. Way too hard – this thing is melodrama running a marathon.
  50. If you have kids who are easily frightened, bring them to Alpha and Omega, a 3-D movie with training wheels. Kids may not like it, but they'll never fall off the ride.
  51. This is the reliable raunch-plus-sweetness comic formula that goes back through the Farrelly brothers, Adam Sandler's comedies, "Revenge of the Nerds," "Porky's" and "Animal House."
  52. Unfortunately, The East is not a very good movie, hobbled by an excess of plot, a lack of believability and big gaps of logic.
  53. A tart-coated sugar pill of a movie.
  54. Washington's take on the seductress is so saucy, so unapologetic, such a brash blend of insouciant charm and raw sex appeal, that she swipes the picture from right under its nominal star. The only problem is that her theft inadvertently tips the balance of the moral dilemma, shifting it seismically all the way from "He'd be a fool to succumb" to "He'd be a coward not to."
  55. This material might make for a sly, subversive take on the genre, but writer-director Tyson Caron positions Dash as the hero of his story, a fatal flaw.
  56. It is a paint-by-numbers Holocaust movie, scrupulously balanced, always cautious, occasionally clichéd, often sentimental.
  57. Jawbreaker breaks ground in one way. The movie is notably unpleasant, not just because it's morally offensive, but because it strives for this arch, artificial John Waters tone without any accompanying pay-off in wit.
  58. This entry has been described as a “cousin” to the other movies. Specifically, The Marked Ones is a Hispanic cousin, customized for Latino audiences in the United States where the series is particularly popular.
  59. A splatter of scenes that relocate the funny-bone in the lower anatomical regions -- sometimes hitting the mark, occasionally a glancing blow, often missing completely.
  60. Guy Ritchie's Holmes reboot feels both too complicated and too elementary, dear Watson.
  61. While it’s fine for a director to explore his childhood inspirations, you hope he would bring something a bit more personal to it. Instead, Jack the Giant Slayer, while well-crafted, feels entirely generic.
  62. It’s been not so much remade as restrained – tamed and dumbed-down and with any sharp political edges safely filed off.
  63. While Tom Tykwer's lavish and lively screen adaptation of Perfume: The Story of a Murderer is certainly not a stinker, there is something decidedly off about it.
  64. More than merely stale and dated, Hollywood Ending seems lazy and careless -- the structure is loose to the point of crumbling.
  65. In its component parts, then, Love Liza is essentially a battle between opposing clichés.
  66. Lewy’s script doesn’t cop out with any sentimental redemption, but neither does it establish why the self-destructive Lachlan deserves our sympathy.
  67. As a statement on capitalism or anything else, Capitalism: A Love Story is often embarrassingly simplistic, self-contradictory.
  68. A football story that deserves a penalty flag every other play for piling on the sentiment.
  69. Queen Latifah's energy may be winning and her self-reliance message righteous, but Last Holiday grossly overextends her credit
  70. The film is primarily an excuse for Chase to demonstrate that though he may be a movie star he has yet to learn how to create, let alone sustain, a character, and for director Harold (Caddyshack) Ramis and screenwriter John (National Lampoon's Class Reunion) Hughes to demonstrate that some movie stars get the colleagues they deserve. [2 Aug 1983]
    • The Globe and Mail (Toronto)
  71. If you're looking for a screwball comedy about bipolar disorder -- and who among us is not? -- then this picture fits the bill fine. However, if you're picky enough to want a good screwball comedy about bipolar disorder, well, I'm afraid the wait continues.
  72. The movie never actually gets to winter: The title is just a clumsy play on the family's surname.
  73. 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.
  74. 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.
  75. In what's meant to be a French take on "The Big Chill" - comedy meets pathos as friends gather at a country house in the wake of a tragedy - writer-director Guillaume Canet has wrought a meandering script that exercises everything except restraint.
  76. Speaking of funny things, director Todd Phillips has been down this path before in "Road Trip." There, toiling in the same lame genre, he actually showed a hint of comic ingenuity. Here, the hint has dwindled to a hoarse whisper.
  77. More ambitious, but also much harder to swallow than the average Hollywood hack effort, In the Cut is a muddle of thriller and art-house phantasmagoria.
  78. The movie is like a glass of Sprite that has been left on the counter too long: transparent, sweet and flat.
  79. To her credit, Nadda is a solid actors’ director – the performances here are competent even when the writing isn’t. The exception is South Africa which, although a logistically necessary shooting location, ain’t much of a thespian.
  80. 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.
  81. This is a flick whose failures are at least as interesting as the successes.
    • 53 Metascore
    • 50 Critic Score
    Even though William Safire doesn't fit in the target demographic, Stick It is more valuable as a survey of modern American teen argot than as a movie.
    • 55 Metascore
    • 50 Critic Score
    One wishes the makers of Pride had stuck with non-fiction, because their movie reduces Ellis's story to the level of generic sports-flick hokum.
  82. A furious 90-minute trailer of a movie that exceeds the speed limit for action films established by Quentin Tarantino's recent "Grindhouse."
  83. Periodically, thanks to the 3-D, a long and pointy object emerges from the screen, threatening to impale the viewers through their eyeballs, enhancing the movie's guilty pleasure by reminding us that we, too, are made of vulnerable flesh and bone.
  84. The plot is squeezed dry in this bloody Valentine from Hollywood and becomes annoyingly predictable. Thriller stumbles on its own success
    • 54 Metascore
    • 50 Critic Score
    There’s plenty of shimmying here, maybe too much, and lots of spin moves, but it’s missing on-the-field results.
  85. As beautiful to look at and as emotionally disconnected as its central character.
    • 53 Metascore
    • 50 Critic Score
    So if you're in the mood for a scary flick, the kind where people can't resist going into the huge hole in the wall where the family Pekinese just disappeared to the sounds of being masticated, this is the one.
  86. Without warning, the picture falls hard into the very trap it had so studiously avoided, the one marked Expensive Gimmick... The same feature that begins like no film you've ever seen ends like every cartoon you've always avoided.
  87. Like Frankenstein's monster before the lightning strikes, it's all recycled cold flesh and bolts, without a twitch of originality.
  88. To wit, stick that camera down an aquatic cave, wrap a paper-thin plot around it, slap the whole thing up on an IMAX screen and call it a movie. More truth in advertising: Call it a lame movie.
  89. Director Joel Schumacher has pulled no mawkish punches, wringing every drop of emotional potential from the script (adapted by screenwriter Akiva Goldsman from John Grisham's popular novel) down to the last manipulative glance and close-up. Call it A Time to Overkill.
  90. Approximate time spent laughing: 30 seconds or fewer.

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