The Globe and Mail (Toronto)'s Scores

For 4,041 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 Kafka
Lowest review score: 0 Sex and the City
Score distribution:
4,041 movie reviews
  1. 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.
  2. In keeping with the purloining spirit of sequeldom, Woo plunders his own past. [24 May 2000, p.R1]
    • The Globe and Mail (Toronto)
  3. Sitcom star Harris puts his smart-aleck chops to good use as Patrick Winslow.
  4. 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.
  5. Holy Man sure isn't raucous; instead, in the main, it's just quietly unamusing.
  6. 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.
  7. 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.
  8. The result is a political thriller refreshingly long on grown-up dialogue yet lamentably shy on, well, thrills. This chatty thing does go on.
  9. For the first time in the series, Stallone did not write the script, yet director Ryan Coogler and his co-writer Aaron Covington aren’t exactly brimming over with fresh ideas: Worn thin with repetition, the sentimental old premise muffles suspense and dampens emotion.
  10. 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.
  11. 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.
  12. 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.
  13. Once again Anna Faris manages to be the best thing in another not very good Anna Faris movie.
  14. 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.
  15. Full of post-hippie fatalism and cynical macho barroom existentialism, the original film feels very much of its era, and the remake anachronistic.
  16. The result is an erratically funny but often frustrating comedy, with an interesting premise hobbled by internal inconsistencies and uneven writing.
  17. Alig's superficiality seems to have been his only talent. His banality is a problem that the film can't overcome.
  18. 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.
  19. 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.
  20. 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."
  21. For most of its duration, Suicide Kings turns into something like a hoary murder-mystery theatre piece in the Agatha Christie/Clue tradition.
  22. 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.
  23. 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.
  24. 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.
  25. The plot feels both familiar and far-fetched.
  26. In truth, despite its honesty, this is a flawed little film, its low comedy never funny enough to justify its crudeness.
  27. 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)
  28. 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).
  29. Worse still is his idiotic tampering with the so-called "Happy Ending" -- in print, it's bleakly ironic; on screen, incongruously sentimental.
  30. Waters's rude, lewd and occasionally nude extended skit takes a simple idea and beats it limp.
  31. Continuing directly from where 2010’s "Insidious" left off, Insidious: Chapter 2 follows the further misfortunes of the Lambert family with diminishing insidious rewards.
  32. 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.
  33. 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.
  34. For its last third, the entire thing gets a Frankensteinian head transplant, and turns into derivative serial-killer nonsense.
  35. 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.
  36. 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.
  37. 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.
  38. 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)
  39. 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.
  40. 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.
  41. The Last Circus is a bizarre, surreal, grotesque, fascinating, demanding, disappointing and ultimately exhausting political allegory that plays like a waking nightmare.
  42. 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.
  43. 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.
  44. Though bathed in ecclesiastical light and a work of obvious craft and ambition, Bee Season is grimly serious and rather full of itself.
  45. 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.
  46. All hell breaks loose and it's a heck of a lot of fun to watch.
  47. 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.
  48. 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.
  49. Spy Kids 3-D: Game Over, is still offbeat, but more in the sense of unco-ordinated than syncopated.
  50. 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.
  51. Feels stale, bloated and willing to get by on sheer familiarity.
  52. A movie that serves up what its debauched subject would never have countenanced -- sanitized smut with a moral attached.
  53. 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.
  54. Confused, and confusing.
  55. You can see Rock hedging his bets right from the opening frames.
  56. So why, despite everyone's best efforts, does all this bigness seem so small and unfocused and simply not up to the task?
  57. 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)
  58. 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.
  59. The oddest movie to come out of Disney since Herbie ran out of gas in Monte Carlo, Brother Bear is a cartoon about a boy who becomes a man by learning how to be a bear.
  60. The result, as a colleague once so aptly put it, is less film noir than film beige.
  61. This might be tolerable if Nair hadn't missed the central point, that Becky Sharp isn't sharp like spice, she's sharp like a razor.
    • 44 Metascore
    • 50 Critic Score
    The Love Punch feels like a remake of an old MGM caper comedy. It’s not, but it feels that way, which will certainly set it apart from the Disney villains, X-people and radioactive sea monsters of the summer movie schedule.
  62. Nope, this picture doesn't bear thinking about, but, if you resist that nasty temptation, setting all your mental gauges at Dead Slow, the flow of the action will see you through.
  63. This last Merchant/Ivory film feels like a thin apparition of the team's best films -- similarly static but less substantial, less palpable, and sadly less respectable, just the vestigial remains of a better day.
  64. A mixed bag of old-school and contemporary horror tricks that occasionally raises a hair prickle of intrigue.
  65. It's scary how unfunny this flick is.
  66. Middling gets downgraded to muddling. Of course, on such slippery slopes, reputations are made. Damned if the original isn’t looking like a comparative gem.
  67. A lot more cutting would have made this movie much funnier – but it should have taken place in the editing room, not on the screen.
    • 48 Metascore
    • 50 Critic Score
    Until the movie stumbles under the weight of its noble intentions and its tediously formulaic story, it delivers a few lively, well-shot dance sequences and some winning moments.
  68. For the price of a ticket, and 100 minutes of your time, how many laughs are enough to qualify as just compensation? Will four or five do? Let's be generous and count five.
  69. A good-looking but anecdotally slight dramedy about life and lifestyles in Los Angeles's hip Silver Lake district.
  70. Maybe Bee Movie is another ground-breaking show about nothing – a hornet's nest of hype for a fat hive of nothing. If so, pay up and get stung.
  71. Quaid and Whitaker, who serve more or less as the designated humans in this clockwork contraption of a film, are capable in corny roles, but otherwise Vantage Point is as stuffed with cardboard performances and expositional speeches as any seventies disaster flick.
  72. Love the kid though, and Statham too – it takes a star with quality to be so rock solid in a crumbling yarn.
  73. The narrative of Lonesome Jim pokes about aimlessly, trying to mine nuggets of amusement.
  74. A farther-fetched fantasy: In addition to asking we believe our loosely packed academic can play Rocky, Here Comes the Boom imagines a world in which butterball Everyman Scott and the fabulously lush Bella (Salma Hayek) might argue and bill and coo and eventually fall in love.
  75. Accepting the final twist of The Girl From Monaco depends on whether you're in the mood.
  76. Awkward in ways both intended and not, the fourth feature from author and director Rebecca Miller is an attempt at a comic change of pace for the usually earnest Miller.
  77. A dull, formulaic romance comedy with an ulterior motive and a sly message. Remarkably, the message is this: "Please Re-elect George Bush."
  78. The pervasive gore overpowers the few clumsy attempts at wit here, though the film does have one funny line. As one of Poe's literary rivals watches a razor-edged pendulum slice into his abdomen, the man screams in protest: "But I'm only a critic!"
  79. The ideal: It hopes to be a suspenseful political yarn carrying a lofty message of peace and understanding. The reality: It's just a flabby thriller that gets completely lost in translation.
  80. Although much of the bloat can be traced to the script, via the Jennifer Weiner novel, let's not absolve director Curtis Hanson from his fat share of the blame.
  81. Thanks for Sharing might best be described as being like Steve McQueen’s sex-addiction drama, "Shame," if it were rewritten by Neil Simon at his most schmaltzy.
  82. Wildly energetic performances could perhaps disguise some of these problems – or at least keep an audience entertained during a slow ride – but Priestley does not draw from his performers the work we all know they can do.
  83. The shipwreck comes too late to rescue movie from endless banalities. [02 Feb 1996]
    • The Globe and Mail (Toronto)
  84. There's plenty here to keep summer comedy fans satiated, if not entirely satisfied.
  85. A shoot-'em-up for cynical times. Its only asset is Seagal himself, and frankly, he's is getting a bit past it.
  86. It might better be titled The Awkward.
  87. 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.
  88. Though it is shaped as a woman-in-peril thriller about obsession, Cherish is about being winningly kooky, not violently insane.
  89. Fascinating, even when it's fascinatingly bad.
  90. It's not the subject matter itself that's offensive -- pedophilia is as worthy a topic of investigation as any other. Instead, it's the subject's non-treatment -- we don't learn a thing that rings true.
  91. 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.

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