The Globe and Mail (Toronto)'s Scores

For 3,960 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 Happy-Go-Lucky
Lowest review score: 0 Far and Away
Score distribution:
3,960 movie reviews
  1. Vanity: the surest road to mediocrity.
  2. Bean falls well short of a work of genius. Indeed, the unbearable slightness of Bean feels like nothing so much as a betrayal of the television series on which it is based.
  3. A sporadically amusing, occasionally off-putting French farce.
  4. All of this is accomplished with buckets of blood, but almost no sense of flesh: It's hard to recall a more sexless vampire flick.
  5. Despite an evident appetite for mayhem, however, Bay is not the right guy to produce slasher movies. Horror requires intimacy.
  6. What a disappointment.
    • 76 Metascore
    • 50 Critic Score
    Watching De Clercq dance is not only what Nancy Buirski’s uneven documentary does to best effect, it helps you understand the movie’s otherwise restrictive emphasis on the men who became obsessed by her, primarily her discoverer and husband George Balanchine and the dancer/choreographer Jerome Robbins.
    • 68 Metascore
    • 50 Critic Score
    Hergé was the pioneer of an even-handed style of cartooning with solid lines and no shading that became known as ligne claire, but there is a decided lack of clear lines in this erratic movie adaptation of his work.
  7. 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.
  8. It's a comedy, it's a romance, it's a gangster flick. The Cooler is all of that and much, much less. This is a movie without a compass, switching pace and direction as haphazardly as a caffeinated SUV driver on a cellphone.
  9. The Notebook is meant to be a romantic weepy, and you will shed tears - but only from the consistent and exhausting effort of trying to control your gag reflex. Even a body that welcomes a sugar fix will repel a sugar invasion.
  10. Of course, the result is forgettable, but at least it's efficiently and breezily forgettable. What's more, there are laughs too and here's the best part – one or two of them are actually intentional.
  11. The movie becomes an American salute to military patriotism, anybody's military patriotism. Think of it as "A Few Good Reds."
  12. If this is satire, it's the smug and self-congratulatory kind that lets the audience completely off the hook. Effective satire, the Swiftian brand, seduces us first and then implicates us in the seduction -- we become a target too. But this stuff never gets past the initial step -- it's toothless, as innocuous as the puffery it pretends to skewer.
  13. 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.
  14. As anodyne as it is, Timothy Green may represent the last gasp of a genre, the live-action family fable, that has been an entertainment staple for a couple of generations of moviegoers.
  15. Identity opens with its mind nicely intact, suffers a major crisis about 30 minutes in, then bad turns to worse.
  16. Max
    The whole film occupies pretty much the same continuuum -- glimmers of intelligence followed by moments of outright hysteria punctuated by bouts of sheer haplessness.
  17. Dorothy's friends are as weird as her enemies, which is faithful to the original Oz books but turns out not to be a virtue on film, where the eerie has a tendency to remain eerie no matter how often we're told it's not. [22 Jun 1985, p.E3]
    • The Globe and Mail (Toronto)
    • 53 Metascore
    • 50 Critic Score
    There is a rich movie to be made about this culture of fake seers and gullible marks, but it isn't The Awakening, a dull British import that never lives up to the pretensions of its period setting.
  18. Although director Taylor Hackford ("An Officer and a Gentleman") handles the usually cumbersome flashbacks with impressive delicacy, he can't stop the narrative from sinking under its own melodramatic weight.
  19. Dirty Girl isn't. Sorry, but it's just faux grime, a thin layer of bad behaviour that wipes clean with a two-ply tissue to reveal the real movie beneath – all shiny sentimentality.
  20. Not only is The Village not credible, its shallowness makes it dislikable, a shopworn gothic plot focusing on stereotypical characters with disabilities, with no ambitions beyond playing a simple-minded audience head game.
  21. The updated Dickensian sensibility of writer Craig Bartlett's story is appealing.
  22. Sorry to disappoint anyone who saw the cast list of this film and presumed Julie Andrews was going to play the horrific serial killer Tooth Fairy from the Hannibal Lecter movies.
    • 52 Metascore
    • 50 Critic Score
    There’s a worrisome failure of imagination at work in the title of this movie. It’s actually hard to imagine a more generic title. But at least it’s succinct. It rolls off the tongue much better than Movie That Feels Not So Much Inspired As Engineered According to Conventional Animated Kids’ Genre Requirements.
  23. Here, one begins to suspect that the major impediment is the sensibility of the filmmakers themselves. They don't believe in this stuff, in its unavoidable sentimentality, and that attitude filters down to a perplexed cast.
  24. A botched adult romantic comedy that strands its leading player, and its audience, in a wearying, sitcom-slight battle of the sexes.
  25. This bare-bones adaptation is more of a sop to the musical’s fans than a fully imagined movie musical.
  26. This movie is about the opposite of political correctness. It's about rooting for the bad guy and the black ending, and shouting at the screen whenever you feel like it. If you like that sort of thing, go see it. If you don't, then don't.
  27. The whole thing has all the spontaneity of high-school morning announcements.
  28. A contrived and tepid thriller that insists on wanting to interest us in its main plot -- the usual nefarious plan to assassinate the leader of the free world.
  29. 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.
  30. Expected too is the result: a kind of sterile opulence or, if you prefer, a magnificent emptiness.
  31. I doubt that Lawrence is conscious of this process. Nevertheless, stuck in a dull commercial feature, a very good actor happens upon a new solution to an age-old problem: She improves the script by transcending it, and steals the picture by abandoning it.
  32. 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.
  33. All dull thunder without a spark of illumination.
  34. A big, bloated, though frequently engaging gangster movie, Kill the Irishman should properly be viewed late night on TV, flipping back and forth between the film, David Letterman and a west-coast ball game.
  35. Sitcom star Harris puts his smart-aleck chops to good use as Patrick Winslow.
  36. Lawrence isn't nearly as adept at romantic comedy as his stars. His rushed jokes and insensitivity to tone are yet more sad reminders that the genre is an endangered species not because we lack new Hepburns and Cary Grants, but because there are no more George Cukors.
  37. Holy Man sure isn't raucous; instead, in the main, it's just quietly unamusing.
  38. A fine, solid cast and fully exploited settings cannot make up for the by-the-numbers screenplay, which is filled with all-too-convenient plot points.
    • 37 Metascore
    • 50 Critic Score
    The Words suggests that a story, whether true or not, can help get us through, if we believe it enough. Though this film can't quite pull it off, a good enough thief can get away with it.
  39. By the conclusion, the movie turns into the ursine answer to "Free Willy," veering dangerously close to New Age parody: Free your inner bear -- and begin to heal from the last time you got mauled.
  40. The result is a political thriller refreshingly long on grown-up dialogue yet lamentably shy on, well, thrills. This chatty thing does go on.
  41. The Iron Lady is a performance in search of a film.
    • 79 Metascore
    • 50 Critic Score
    Adds more cosmic cliff-hangers than it resolves, and it's not as satisfying as the original. A star war can be an exhausting bit of business, especially when, in the end, it turns out to be something of a cheat.
  42. So we're back on "The Road ," but this time Eli's coming – better hide your heart and, while you're at it, put your brain on hold, the easier to enjoy the action-filled sermon to come.
    • 35 Metascore
    • 50 Critic Score
    An occasionally inventive but ultimately plodding horror film.
  43. How's this for frightening: The casting of the lightweight Ben Affleck as a CIA agent who holds the fate of the entire world in his pretty-boy hands. Can't deny it, that got my heart pumping like a bunny.
  44. Once again Anna Faris manages to be the best thing in another not very good Anna Faris movie.
  45. 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.
  46. Full of post-hippie fatalism and cynical macho barroom existentialism, the original film feels very much of its era, and the remake anachronistic.
  47. The result is an erratically funny but often frustrating comedy, with an interesting premise hobbled by internal inconsistencies and uneven writing.
  48. Alig's superficiality seems to have been his only talent. His banality is a problem that the film can't overcome.
  49. At the end of these "based on a true story" flicks, it's customary to flash photos of the real people over the end credits. There, Sam Childers looks older and less handsome and awfully imposing, a scary sort of cat with raw but authentic tales to tell. I'd like to hear them.
  50. 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.
  51. 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."
  52. For most of its duration, Suicide Kings turns into something like a hoary murder-mystery theatre piece in the Agatha Christie/Clue tradition.
  53. There will be occasional tears, there must be frequent laughs and the whole contrived structure has the calculated quaintness of Ye Olde Pub at a EuroDisney theme park.
  54. At two hours, Eight Below becomes rather repetitive and arduous in its final stretch, the rescue mission. But the canine cuteness, breathtaking action and acts of bravery are worth braving the Disney elements -- overpowering, poignant music, an unnecessary romantic subplot -- if you like your movies doggy-style.
  55. Relentlessly twee as all this is, Wasikowska's warmth and Hopper's off-beat timing (he's the son of the late Dennis Hopper) are appealing to watch.
  56. The plot feels both familiar and far-fetched.
    • 76 Metascore
    • 50 Critic Score
    In truth, despite its honesty, this is a flawed little film, its low comedy never funny enough to justify its crudeness.
  57. Hurt is so good at capturing the charming and chilling Ned that he almost makes up for the film's two primary weaknesses: Kasdan's inexperience and a message of significant unpleasantness. [28 Aug 1981, p.P17]
    • The Globe and Mail (Toronto)
  58. Vardalos has a talent, and there is one sequence in the movie that works. In the romantic subplot, Connie falls for Peaches' brother Jeff (David Duchovny, as Vardalos's sleepy, hunk replacement for John Corbett in Greek Wedding).
  59. Worse still is his idiotic tampering with the so-called "Happy Ending" -- in print, it's bleakly ironic; on screen, incongruously sentimental.
  60. Waters's rude, lewd and occasionally nude extended skit takes a simple idea and beats it limp.
  61. Continuing directly from where 2010’s "Insidious" left off, Insidious: Chapter 2 follows the further misfortunes of the Lambert family with diminishing insidious rewards.
  62. 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.
  63. 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.
  64. For its last third, the entire thing gets a Frankensteinian head transplant, and turns into derivative serial-killer nonsense.
  65. It's possible to admire the performances of stars Charlize Theron and Kim Basinger in The Burning Plain , even as you backpedal from the film, hoping the ponderous megasoap will just go away.
  66. A comedy should provoke more than smiles. Should have characters instead of show-offs. Although often charming, Micmacs seems so pleased with itself that it hardly needs an audience.
  67. The differences between the two movies are, first, that Scoop is a comedy and, second, unlike "Match Point," it's not very good, as Allen also returns to pre-Match Point mediocre form.
  68. The Bostonians, from the novel by Henry James, is the story of their relationship, one of the strangest in literature. Unfortunately, that strangeness has survived the transfer to the screen less than intact, and satiric oddity has been replaced by romantic banality. Redgrave's performance - red-eyed, quivering, opalescent - is peerless, the one incontrovertible reason to see the film. [23 Nov 1984]
    • The Globe and Mail (Toronto)
    • 77 Metascore
    • 50 Critic Score
    Needless to say, what's refreshing about A Christmas Story is subversive to the sepia-toned and loving references to the forties which director Bob Clark has provided for the film. The fictional Parker family that Shepherd has written about for 20 years is not as gentle or gauzy as they first appear. It's possible to imagine them so preoccupied with their own problems, whether dealing with the neighbor's dogs or winning a mail- order contest, that they could forget Christmas altogether. [25 Nov 1983, p.E5]
    • The Globe and Mail (Toronto)
  69. For my first trick, allow me to write off an entire picture by merely affixing to the title a one-word contraction: The Incredible Burt Wonderstone isn’t. Please hold your applause.
  70. The result is a movie that's both odd and mediocre: not as bad as doing hard time, but not a particularly good time, either.
  71. The Last Circus is a bizarre, surreal, grotesque, fascinating, demanding, disappointing and ultimately exhausting political allegory that plays like a waking nightmare.
  72. With its jazzy saxophone noodlings during the opening credits and its bruised black-and-blue look, it's so quaintly and conventionally pulp that you feel like filing a report with the cliché police.
    • 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.
  73. Though bathed in ecclesiastical light and a work of obvious craft and ambition, Bee Season is grimly serious and rather full of itself.
  74. Even if it's accepted simply as glitter-sprayed trash, sophomorically plotted and incompetently acted, Femme Fatale is a uniquely De Palma kind of effluence, an exercise in auteur self-parody.
  75. All hell breaks loose and it's a heck of a lot of fun to watch.
  76. There's an alchemy that can transform personal experience into a great film, but it was nowhere nearby when Tamara Jenkins wrote and directed this lacklustre first feature.
    • 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.
  77. 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.
  78. Spy Kids 3-D: Game Over, is still offbeat, but more in the sense of unco-ordinated than syncopated.
  79. On the downside, Rosebraugh’s own film is too self-righteous and his attempts to play a humour-challenged, lightweight version of Michael Moore in front of the camera is a misfire. The climate-change deniers are comforting, though obviously wrong. Greedy Lying Bastards is grating, even if it’s right.
  80. Feels stale, bloated and willing to get by on sheer familiarity.
  81. A movie that serves up what its debauched subject would never have countenanced -- sanitized smut with a moral attached.
  82. All this holding back is a bad idea, especially as the subject of an entire movie.
    • 31 Metascore
    • 50 Critic Score
    The movie offers nothing new or special, but at least it isn’t as painful as watching Sandler walk Al Pacino through a Dunkin’ Donuts rap.
  83. Confused, and confusing.
  84. You can see Rock hedging his bets right from the opening frames.
  85. So why, despite everyone's best efforts, does all this bigness seem so small and unfocused and simply not up to the task?
  86. As a drama, The Soloist is stuck before it starts.
    • 40 Metascore
    • 50 Critic Score
    Porky's is crafty, offensive retro-fantasy for one gender. [20 Mar 1982]
    • The Globe and Mail (Toronto)
  87. The dread in the film is so quickly forgotten. What remains is an urge to fly to Italy, rent an apartment in a medieval city and invent your own adventure.

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