The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,772 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: 59
Highest review score: 100 Summer Hours
Lowest review score: 0 Species II
Score distribution:
3,772 movie reviews
  1. At least The Infidel is an equal-opportunity blasphemer, and God bless it for that. Otherwise, this thing plays like a cheeky Brit-com blown up to feature length, with a thin coat rack of plot to hang the ethnic humour on, and a wish to offend without being offensive.
  2. Piranha 3D is more funny than disgusting, even when screen fills with half-nude swimmers, bobbing like human dumplings in a roiling vat of borscht. This isn't just sick, it's clas-sick!
  3. The new heist movie Takers is surprisingly okay.
  4. Max Manus (the title role is played by Aksel Hennie) feels so familiar that audiences watching it are likely to experience a numbing sense of déjà vu. Nothing seems particularly fresh or involving.
  5. 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.
  6. Machete is a drinking man's "The Expendables."
  7. 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.
  8. Saddled with this hollow script, Stone pads with elaborate set pieces.
  9. Jack Goes Boating barely stays afloat – it's a deep disappointment.
  10. The movie feels trapped in the 1980s and feels like a missed opportunity.
  11. Three words: Late Woody Allen. In the autumn of his career, toiling exclusively in Europe, Woody is like an aging cabinet maker still blessed with craft but grown erratic in design.
  12. When the movie climactically reproduces that exhilarating Belmont, the fiction is just a pale shadow of the fact, and the realized myth that lives in our memory dies on the screen.
  13. It might be called "It's Kind of a Thin Movie."
  14. A discordant mix of melodrama and chaotic farce.
  15. RED
    The star turns are Red's raison d'être, with the winking performances filling the place of any credible dramatic tension.
  16. No, the trouble isn't with them but with a screenplay (by Angus MacLachlan) that loads their characters with too much symbolic baggage and then points them off in obscure directions.
  17. A story based on exceptional facts gets converted into an unexceptional movie.
  18. Hereafter is unpredictable enough to be consistently watchable.
  19. Are any of his stunts funny? Yes, one scene is worthy of Borat and Mack Sennett's Keystone Kops.
  20. The principle suspense is wondering when the suspense is going to start, as you scan the darkly-lit screen looking for any hint of imminent horror.
  21. The tale is about meeting Death and comes with this moral: When The End arrives, better to embrace it with love than to try to cheat it with avarice. Hey, if nothing else, Part 1 has got some nerve, so greedily refusing to practice what it earnestly preaches.
  22. 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.
  23. What should have sizzled fizzles.
  24. 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.
  25. Sorry, this one doesn't really work at all, but don't blame the workers.
    • 57 Metascore
    • 50 Critic Score
    Yes, it's "The Devil Wears Prada," redux.
  26. Anyone interested in a no-seatbelts, out-of-control action flick will find much to enjoy in Faster; although even they may prefer seeing it in Blu-Ray at home, which would allow for trips to the fridge for fuel when the film begins to idle in the last reel.
    • 69 Metascore
    • 50 Critic Score
    Though inspired by a real incident, the movie is an opportunistic political allegory about an economy that's out of control and industries that are weakened by layoffs, under-staffing and corporate callousness.
  27. Manic with an itch.
  28. The plot is rich, the execution poor.
  29. Sad news for Bard watchers: Julie Taymor's adaptation of William Shakespeare's The Tempest is not such stuff as dreams are made on.
  30. Brooks knew how to engineer a well-crafted script. Yet on the evidence here – a stuttering two-hour outing bereft of any rhythm, a bunch of scenes in search of a movie – he's apparently forgotten.
  31. While the outdoor sequences were filmed in New Zealand's Woodhill State Forest – the movie's most stunning 3-D moments – Yogi Bear does feature notable "Canadian content" via two Ottawa-born thespians.
  32. The pretty good stuff comes early, when Nic and Ron, weary of wasting women and children, suffer an attack of conscience and desert the Crusades.
    • 45 Metascore
    • 50 Critic Score
    Country Strong has a pleasant soundtrack of conservative country music, many of the tunes newly written for the movie, some of them performed by old pros and some of them performed by the cast.
  33. The film itself struggles to do justice to each victim. Turns out three stories are two too many. The Company Men should have been downsized.
  34. Has a deliberately minimalist, retro look to it as well.
  35. 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.
  36. 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.
  37. They're not much company, our Marcus and Esca. But there we are, mucking through crazy Scotland with them.
  38. 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.
  39. 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."
  40. The art of the classic Hitchcockian thriller is about style, pace and misdirection – and though Unknown is occasionally baffling and involves running and car chases, the film rarely manages to thrill.
  41. Say this for I Am Number Four: It's blessedly free of any original sins. Instead, they're all copied. Here a little "Superman," there a bit of "Spider-Man," now it's "Twilight" with aliens, then it's a spaghetti western with trucks – this thing borrows more heavily than an investment bank in an unregulated market.
  42. Strictly for the midnight-movie crowd, Drive Angry serves up a non-stop stream of female nudity, flying body parts, gun battles and smart-alecky dialogue.
  43. Has a provocative, ticklish premise – five North England Muslims become suicide bombers, but can't decide who or what to take with them.
  44. This parade of admiration is almost as exhausting as the experience of a Motörhead concert.
  45. Sometimes, a strong premise makes for a weak movie, which ends up drowning in its own clever conceit.
  46. 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.
  47. From that title on down, White Irish Drinkers is a compendium of clichés struggling to upgrade its status and become a respectable archetype.
  48. 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.
  49. Throughout, Wilson and Byrne play these parts straightforward and there's an undercurrent of real anguish in the struggle of parents coping with a child's long-term care.
  50. View the Second World War through a child's eyes and the result isn't hard to predict: a loss-of-innocence tale. Winter in Wartime is the boilerplate version, with the already dramatic facts of the era ramped up to melodramatic levels. Little wonder it rings so false.
  51. Soul Surfer is a true story that plays like bad fiction.
  52. Though it's undoubtedly ingenious, for such a clever movie, it's a shame Rubber couldn't be more fun.
  53. The 131-minute, car-racing film is adolescent guy date histrionics – screaming tires, snappy putdowns and, because we're in Rio, an occasional influx of bodies beautiful in Band-Aid bikinis.
  54. More interestingly, it's also kind of sweet in a contrived and fumbling first-kiss sort of way.
  55. Redford hasn't moved too far here from an earlier political-thriller template: With its skulduggery, late-night meetings and the contemptuous political cabal out to thwart justice, The Conspirator can be thought of as "All the President's Men – The Lincoln Edition."
  56. 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.
  57. Clearly, the screenplay is looking for some black comedy here, but Foster's direction is too earnest to locate it.
  58. Ultimately, his (Silver) film settles for a queasy mix of high-toned intentions and commercial compromises.
  59. Poor Cattrall is caught in a script that, much like the white teddy, is an impossibly tight squeeze, obliging her to hit the farcical laughs while still playing the cellulite realism.
    • 75 Metascore
    • 50 Critic Score
    An uneven but intriguing piece of whimsy that veers from powerfully symbolic cinematography into self parody.
    • 44 Metascore
    • 50 Critic Score
    Undeniably funny in parts, but the salacious spark and brilliant pacing of the original is off.
  60. There just isn't the same zingy rapport. Seth Rogen's praying mantis and Jackie Chan's monkey have no more than a dozen lines between them. Even Jack Black's Po is more subdued.
  61. What gets sacrificed on the altar of this new franchise launch is any real sense of fun.
  62. By happy coincidence, their names – Bitey, Loudy, Stinky, Lovey and Nimrod – pretty much double as a plot summary.
  63. The whole project labours towards an importance it never earns. In Beautiful Boy, the themes are vast but the picture is small, and the ensuing emptiness is what the characters are meant to feel – not us.
  64. Just who is Pixar aiming this movie at? Contemporary children or their great-grandparents?
  65. But don't worry about remembering the characters - the movie certainly doesn't.
  66. Next semester, the stars should drop Speech 217 and enroll in Chemistry 101 – they dearly need some.
  67. While a lot of geography is covered, as a concert film, Conan O'Brien Can't Stop is decidedly thin entertainment.
  68. By the time we reach the climactic ending, the script clearly calls for an exorcist with a chainsaw to trim back this metaphor run amok.
  69. The narrative, cobbled together from various Pooh stories by an army of writers, is held together reasonably well by John Cleese's soothing narration.
  70. Is there any doubt Evans' Captain America will do exactly what the character created 70 years ago by Joe Simon and Jack Kirby did in the comics – kick Nazi butt? The real surprise will come next year, when we get to see how the super-square Captain adapts to 21st-century life.
  71. Sitcom star Harris puts his smart-aleck chops to good use as Patrick Winslow.
  72. 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.
  73. 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.
  74. Typically, this sort of film is an earnest tear-jerker with moments of levity. Instead, what we have here is a raucous rib-tickler with occasional pauses for a little dramatic relief.
  75. 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.
  76. Approximate time spent laughing: 30 seconds or fewer.
  77. 3D Sex and Zen: Extreme Ecstasy fails to live up to either its promise or title.
  78. 5 Days of War feels low-budget in everything except its battle sequences.
  79. The ensemble is unwieldy and the attendant yarn much too cluttered.
  80. Killer Elite's major problem: motion at the expense of emotion.
  81. All outrageous stuff. Gatien's story is worth telling. Which makes it all the more unfortunate that director Billy Corben presents it in such a methodical fashion.
  82. A potentially appealing story about a rescued disabled dolphin gets smothered with inspirational family values guff.
  83. Once again Anna Faris manages to be the best thing in another not very good Anna Faris movie.
  84. 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.
  85. 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.
  86. The Last Circus is a bizarre, surreal, grotesque, fascinating, demanding, disappointing and ultimately exhausting political allegory that plays like a waking nightmare.
  87. If 1911 doesn't impress as historical spectacle, neither does it rank high as a Jackie Chan film.
  88. It's a combination that seems ideal for 10-year-old boys who adore violence, and could well be the cornerstone of the next DreamWorks franchise.
  89. Kenneth Lonergan's new film, Margaret, finally released six years after it was shot, now seems destined to become part of film history as one of the more stunning examples of a filmmaker's sophomore slump.
  90. The result is an offence-free, mild entertainment in which everyone from cast to scriptwriter seems to be winging it.
  91. While dance sequences are not particularly well edited compared to the new breed of dance flick, Wormald and Hough are exciting hoofers to watch.
  92. The first 45 minutes of this film feel like far too much normal and not nearly enough para.
  93. A sporadically amusing, occasionally off-putting French farce.
  94. 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.
  95. Though beautiful to look at and graced with moments of ticklish camp, The Skin I Live In is also sluggish, arbitrarily conceived and, especially in its sagging middle, unaccountably dull.

Top Trailers