The Globe and Mail (Toronto)'s Scores

For 4,413 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 Desperado
Lowest review score: 0 The Wedding Ringer
Score distribution:
4413 movie reviews
  1. The Good Girl isn't really the title of this movie at all. Instead, it's now widely known as The Movie That Proves Jennifer Can Act.
  2. 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.
  3. The humour in Accepted is maddeningly safe.
  4. 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.
  5. The main interest here is the acting, which is, by turns, entertaining or just entertainingly bad, with lots of grungy seriousness and Method-trained twitching, but also some moments of real gusto.
  6. Credit Madagascar with negotiating a hopeful truce in the ongoing battle between the computer and the animation. Judged merely by appearances, its look is a lovely compromise. Too bad everything else has been compromised right out of existence.
  7. Broadening the original script out to a cinematic thriller of the prey-and-predator variety, Dolan’s direction is not imaginative enough to carry the day.
  8. Although possessed of a laudable desire not to be yet another run-of-the-mill, wacky-impediment, I'm-nobody-and-you're-the-Prez's-daughter romance comedy, damned if the picture can figure out how to be an anti-romance comedy.
    • 48 Metascore
    • 50 Critic Score
    The presence of some genuine feeling distinguishes Saw III from its predecessors. That said, it has plenty of the blood, torture and dismemberment that moviegoers demand from their Halloween weekend entertainment.
  9. Writer-director Tommy Lee Wallace is not, as can be gathered, a born auteur, but he is crafty at timing the jumpies - despite a silliness that increases as the movie goes on, there are enough left-field shocks to please even the most discriminating fan of what American Film has dubbed the "genre non grata. [25 Oct 1982]
    • The Globe and Mail (Toronto)
    • 36 Metascore
    • 50 Critic Score
    Sadly, Bacon is only intermittently convincing as a man hell-bent on revenge or a father tortured by what he has unleashed on his family.
  10. It's refreshing to have a movie assume that its viewers are also readers, yet this one takes that assumption to testing lengths. To those fearful of flunking the test, my advice is simple: Bring along the book as your cheat-sheet.
  11. A movie with a double-crossing intelligence plot that's so generic it's an irritating intrusion in a lively chase through the streets and shantytowns of Cape Town, South Africa.
  12. It's odd, how these high-concept films, knowing that the central gimmick has a way of wearing out its welcome, are all so short – a mere 84 minutes in this case. Why odd? Because short always ends up feeling so damn long. This is no exception. Quick to start and painfully slow to finish, Chronicle is the same old chronicle.
  13. Alas, the news is mixed: Thor ain't much of a movie but it's a great career move. Both movie and move belong to director Kenneth Branagh.
  14. Directed by veteran "Chariots of Fire" filmmaker Hugh Hudson, the semi-compelling Finding Altamira is let down by ordinary acting, way too many scholarly adages and a perplexing level of inaction.
  15. The only surprise here is the real star of the show, who turns out to be not Halle Berry, not even Bruce Willis, but a flat computer screen in all its hard-driven glory.
  16. 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.
  17. What should have sizzled fizzles.
  18. Malin Buska – the Swedish Kirsten Dunst? – is highly watchable as the Descartes-loving ruler, but Canada’s Sarah Gadon as the sheet-warming lady-in-waiting is given little to do but look naive and dumbstruck.
  19. This half-throttle documentary might better be called The Fast and the Uneventful.
  20. 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.
  21. While The Vow will give heart palpitations to fans of its charming co-stars Rachel McAdams and Channing Tatum, this amnesia-themed romance is the kind of featherweight fare that is enjoyed in the moment and forgotten soon after the end credits roll.
  22. Alas, in the third instalment of the C.S. Lewis odyssey, the devolution continues with the inexorability of a fairy tale thrust in reverse – the sublime first film morphed into the routine second and now this wispy banality.
  23. From that title on down, White Irish Drinkers is a compendium of clichés struggling to upgrade its status and become a respectable archetype.
  24. Nothing more or less than an outright bodice-ripper -- it should have ditched the artsy pretensions and revelled in the entertaining shallows.
  25. The movie features Eddie Murphy as a vampire who is both cool and sucks. The same evaluation might apply to the entire film, which is neither as good as it might be nor as bad as you might expect. The long- in-the-tooth Dracula story, which has been updated and set in the black community of contemporary Brooklyn, is a pulpy mishmash of horror and comedy, equal parts the product of its comedian star and its creepshow director, Wes Craven. [1 Nov 1995, p.C2]
    • The Globe and Mail (Toronto)
  26. The pocketing of tired bills headed for the shredder, the producing of tired movies headed for the theatre -- it's all just recycling.
  27. It's a movie about a nice guy with a lot of friends who dies. It's not really about the wider tragedy the film aspires to represent.
  28. Superficial but giddily entertaining backstage documentary.
  29. Were it not for the fine engaging performances of both Dancy and Byrne, Adam would be sickly sweet.
  30. Pearce pumps a surprising amount of levity into his one-liners – sure, it's still hot air, but at least the banter comes fully inflated.
    • 62 Metascore
    • 50 Critic Score
    Godzilla – both the movie and the big guy – is otherwise something of a lumpy, lumbering great beast of a thing, lurching from city to city, continent to continent, smackdown to smackdown and plot point to plot point with singularly graceless indifference to anything other than those take-home jaw-dropper shots.
  31. While there's some decent fun to be had in this fantasy world, The Change-Up drags on so long you may need to "visit the fountain" before Dave and Mitch become themselves again.
  32. But Eurotrip has no provocative central characters, an absolute must for a gross-out teen comedy. As their names suggest, Scott, Coop, Jenny and Jamie are wusses. "Animal House"'s Bluto Blutarsky would've swallowed them whole without belching.
  33. A great-looking, fast-paced film and, to his credit, Bouchareb doesn't bathe the F.L.N. in a completely flattering light. But narrowing the focus to one central conflicted character and tightening the time frame might have given the audience something more to ponder than the action of a historical revenge thriller.
  34. Unfortunately, For No Good Reason sidelines Steadman’s own bona fides, functioning primarily as a second-hand documentary of Thompson, stoking the hagiography of the late hipster icon.
  35. No one can dismiss 16 Blocks as a mere formula flick -- it's a mere two or three formula flicks all fighting for top billing.
  36. Here's one thing about Marie Antoinette: It sure is easy to watch. And here's another: It's even easier to forget.
  37. It's better than 2, but not nearly as good as 1. On the slippery slope of sequel-land, that's an okay average. [15 May 1992]
    • The Globe and Mail (Toronto)
  38. 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.
  39. 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.
  40. With its episodic stream of slapstick gags, Minions has moment of piquant absurdity, but mostly it’s shrill-but-cutesy anarchy works as a visual sugar rush for the preschool set.
    • 54 Metascore
    • 50 Critic Score
    The movie has a better sense of flow than his past efforts, and a few lengthy travelling Steadicam shots and some decent mountain scenery (supplied by B.C. rather than Colorado) help dispel the feeling that Perry has merely filmed another of his plays.
  41. The movie does offer one historical first: Ferrell, who previously appeared with comedian Sacha Baron Cohen ( Borat) in "Talladega Nights," now appears with skater Sasha Cohen (one point).
  42. If you have an appetite for well-made treacle, then Bella should go down a treat.
    • 61 Metascore
    • 50 Critic Score
    The film's biggest flaw -- aside from the lapses of credibility, which are almost obligatory in escapist summer movies -- is that it flies on and on until its power to hold us simply peters out.
    • 43 Metascore
    • 50 Critic Score
    One of the best things about this film is that ultimately nobody in it is attractive.
  43. As shrill, partly-animated musicals about singing vermin go, Alvin and the Chipmunks: The Squeakquel really isn't all that bad.
  44. El Bulli barely registers a pulse stronger than a book's. There is no narration, there are no interviews and forget about any apron-ripping drama, as presented nightly on the Food Network.
  45. Are any of his stunts funny? Yes, one scene is worthy of Borat and Mack Sennett's Keystone Kops.
  46. All costume and scant drama, the result is a curiously flat spectacle, neither offensive nor compelling.
  47. There's a big budget, big cast and big themes about religion, science and life on other planets. But Contact, which aims for awe, ends up with piffle.
  48. The ensemble is unwieldy and the attendant yarn much too cluttered.
  49. Despite its title, the movie admirably sticks to its game plan of ennobling the everyman as opposed to turning Papale into some kind of Superman.
  50. Film noir is a style, but self-conscious film noir is just a stylistic tic, less a genre than an ailment. And The Black Dahlia has got a really bad case -- this thing is so mannered it convulses.
  51. Even the visions of attractive half-dressed bodies lolling about in various Madrid bedrooms or leaping into spontaneous music videos don't prove compelling for long.
  52. Isn't nearly as much fun as the original. For one thing, Lara having a boyfriend wrecks everything.
  53. A clear case of huevos con hubris.
  54. While Baron Cohen's lanky physical slapstick and verbal manglings are funny, the movie begins to feel like one of the later, worn-out Pink Panther movies.
  55. The fiction that follows can be safely regarded as much more than a war movie -- hell, this is a pro-war movie. Were it a politician, it would be Donald Rumsfeld.
  56. Trading in his thinker's cap for a craftsman's apron, Lee is content to carve a little something out of nothing much - the result is as dismissible as it is diverting. [Apr 12, 1996. pg. C.2]
    • The Globe and Mail (Toronto)
  57. Delicatessen is a carniverous sausage - lots of fat, a few meaty bits. [10 Apr 1992]
    • The Globe and Mail (Toronto)
  58. A talented cast and moments of brutal violence can't dislodge a sense of ho-hum predictability in Pride and Glory.
  59. 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.
  60. 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.
  61. The November Man is one of those thrillers that grows progressively more incoherent, and it simply isn’t fast enough to glide over its gaping narrative holes.
  62. The Santa Clause 3 is a colourful jumble. (But quite a bit better than Jungle 2 Jungle). Nevertheless, whether parent or elf, You might laugh when you watch it in spite of yourself.
  63. This is an honestly moving, ungainly film. [25 Mar 1983]
    • The Globe and Mail (Toronto)
  64. These characters don't seem illuminating at all – just damned annoying and, ultimately, dead boring.
  65. One of those international co-productions full of good intentions and blandly polished results.
  66. A recruitment poster loosely disguised as a movie.
  67. The reflection offered in the puckered muscle and polished chrome of Furious 7’s heroes feels like a cheery escapist distortion of a culture that more closely resembles the smashed steel, mangled bone and blood and vomit of a plain ol’ unsexy car wreck.
  68. 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.
  69. 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."
  70. A successful hoax is annoying for everyone except the hoaxster. No one enjoys being the credulous, unsuspecting dupe of a wise---joke -- personally I loathe it.
  71. The question is, is the interspecies wrestling match really worth the ineptly acted spy antics, the big flatulence jokes and Steve-o's endless grandstanding? Not without a handy remote control with a mute button, it isn't.
  72. This is a comedy at cross-purposes -- by turns low-key, bombastic, mildly amusing, manically slapstick. At least there are the fart jokes as a connecting thread.
  73. It attempts to take local history of the illegal whisky trade and raise it to the level of myth.
  74. Plays precariously close to an unfunny sociopathic case study.
  75. A pleasant flick, more suitable for families than football fans.
  76. Lives down to its title -- what an odd and gauzy reverie this is, a strangely muted picture that unfolds at a distinct remove from the reality around it.
  77. Taken on its own, this is a masterful little slice of computer-generated animation, but it gets lost here in the visual racket.
  78. While Bale speaks in an anachronistically modern American vernacular, the Chinese cast recite grammatically perfect, phonetic English so stilted you find yourself wishing the film would stick to subtitles. This is not so much a question of a story being lost in translation as a movie that never finds the right story to tell.
  79. When it comes to retelling the tale of Tristan and Isolde, give us a movie that makes love. Or even a movie that makes war. Anything, just anything, but a movie that makes nice.
  80. 21 years later, in the wake of "The Hunger Games", "Divergent" and "The Lego Movie," another movie about a kid rebelling against socially imposed “sameness” is a case of the same old, same old.
  81. Although Tom Stoppard's script lifts Ballard's spare dialogue directly from the page, the context in which it is placed is kitsch. [11 Dec 1987]
    • The Globe and Mail (Toronto)
  82. Rob Reiner's not up to it: when the movie is meant to be romantic, the tone is frequently mushy and sexless, and when it's meant to be anachronistic and satiric, it's vaudeville-vulgar.
    • 28 Metascore
    • 50 Critic Score
    It's not a winner and not quite a loser either. Like many a beauty contestant, it's glib instead of serious, stylish instead of substantial. Miss Universe, it could never be. Homecoming queen, maybe.
  83. What the film needs more than anything is Perry's alter ego, Medea – a rampaging bowling ball who might knock all these stiff, upright characters spinning.
  84. More Than a Game is less than a movie.
  85. At almost 21/2 hours, Divergent is repetitiously brutal and drab, with sets that resemble warehouses and industrial junkyards; the action rarely emerges into the daylight before the climactic gun battle.
  86. In the last third, Payback turns into a joke.
  87. This movie wants to be a horse but, even measured in box-office millions, it's just another nag.
    • 51 Metascore
    • 50 Critic Score
    How to Be Single at least marshals its surfeit of incident in service of a point of view that prizes individual fulfillment – in whatever form that may take – over idealized portrayals of courtship and coupledom. However clumsily delivered, it remains a message worth taking to heart.
  88. 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.
  89. This thing can take pride of place in a long tradition of Hollywood howlers.
    • 77 Metascore
    • 50 Critic Score
    Cancer, ironically, turns out to be a hard subject to dramatize. We spend the majority of the doc accompanying Jones to doctors’ appointments and chemotherapy sessions. As compelling as this is to the person going through it, it’s not fascinating to watch.
  90. If 1911 doesn't impress as historical spectacle, neither does it rank high as a Jackie Chan film.
  91. It is a busy narrative machine that raises expectations of a tidy ending; instead Almodóvar offers an artfully mysterious conclusion that seems unearned by the movie that preceded it – except, of course, for that lonely stag.

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