The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,883 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Collapse
Lowest review score: 0 Cocktail
Score distribution:
3,883 movie reviews
    • 29 Metascore
    • 38 Critic Score
    The boorish, juvenile Hot Tub Time Machine 2 is the proverbial turd in the Jacuzzi – you can’t pin down who’s responsible, but it’s a floater that ruins the party.
  1. A lazy, hasty effort that offers little beyond a few jack-in-the-box startles and a high body count, including Hewitt's bouncing about in a shirt half-unbuttoned over a bikini top.
  2. Though Lillard's excitable tone keeps promising wild comic adventures, the sequences are uniformly flat and humour-free.
  3. Other than a few gratuitous montage sequences, plus a patently clumsy echo of the shopping scene in "Pretty Woman," Marshall refuses to pull his share of the load, forcing his beleaguered cast to fend for themselves.
  4. Distinctly humdrum, The Last Legion, a boy's adventure story that seems to have been dragged out of the vaults of some early-sixties TV series.
  5. The Boondock Saints II does, from time to time, display a vulgar charm. Or maybe it just wears you out.
    • 56 Metascore
    • 38 Critic Score
    Stylistically, Baird seems keen to position Filth as a spiritual sequel to "Trainspotting."
  6. It's not really serious, not especially funny, and not noticeably scary. Strikeout.
    • 39 Metascore
    • 38 Critic Score
    At times, the film is more fun than it deserves to be, and it's probably a lot more fun if you're a 13-year-old with an addiction to "Bully: Scholarship Edition."
  7. The film doesn't work, it ain't charming.
    • 38 Metascore
    • 38 Critic Score
    Sarah Michelle Gellar is not faring well as a horror-movie scream queen. Gone are the attitude, wit and verve she used to routinely display in the title role of TV's "Buffy the Vampire Slayer."
  8. Now, forcibly deported to Chicago and peopled with American stars, the same story is huffed and puffed and squeezed into an entirely different cultural context. Guess what? Sayonara sushi, hello turkey.
  9. The biggest high comes from the images evoked by the title alone, or the title in tandem with the movie poster, doesn't it?
  10. A British flick based on the first novel in a popular teenage spy-thriller series by Anthony Horowitz, looks promising but, unfortunately, doesn't measure up.
  11. Add them up and the sum has a certain mathematical inevitability: Really annoying characters, really annoying movie.
  12. A determined romantic comedy with a theme, and damned if it won't see it through.
  13. Guaranteed neither to offend nor delight.
  14. Director Adam Shankman pushes together scenes with little rhythm or flow. Writers Thomas Lennon and Robert Ben Garant ignore credibility, throw in pointless sight gags, treat humiliation as comedy and use tiresome ethnic stereotypes. In short, Diesel doesn't get the help he needs.
    • 46 Metascore
    • 38 Critic Score
    Though frantic from the get-go, A Previous Engagement rarely finds its feet. Devoid of the fine balance of grace and chaos necessary to any screen farce, the proceedings are slapdash, repetitious and badly overextended.
  15. Alien Nation lives out precisely the fate of the alien nation it depicts - both full of potential, both hoping to please, and both immediately co-opted, enslaved by the same commercial forces that granted their release. [12 Oct 1988]
    • The Globe and Mail (Toronto)
    • 34 Metascore
    • 38 Critic Score
    The movie's uninteresting characters, boneheaded dialogue and flagrantly nonsensical narrative detract considerably from the virtues of the visual design.
  16. Lots of buildings and cars explode, but there isn't a spark between any of the characters.
  17. In today's cultural climate, any remake of Conan the Barbarian can only be considered (a) redundant or (b) a cruel case of rubbing salt in our cinematic wounds. Either way, it ain't a pretty sight – in fact, it's downright barbaric.
  18. [Lange] does give the movie the only excitement it possesses -- the frisson of a hideous thrill -- but it's still an excruciating embarrassment.
  19. Well-intended but maladroit, with a clever premise and cute animation that are undermined by the trite sci-fi parody plot and manic, unfunny banter.
  20. A film willing to cheat whatever way necessary to scare you... The good news is that once you leave the theatre, you'll never think of Boogeyman again.
    • 64 Metascore
    • 38 Critic Score
    Fury is a war movie with balls of steel and marbles for brains.
  21. When a movie ostensibly on a serious subject is so God-awful silly, is it impossible to be offended, or impossible not to be?
  22. If laughs are the currency of any comedy, then this one pays minimum wage and, worse, makes you work damn hard even for that pittance.
  23. Like a two-bit philosopher working the wrong side of the stone, Howard has managed to turn gold into lead.
  24. Add up these three intentions – the down-and-dirty tone, the tender and uplifting message, the starring vehicle – and the math ain't funny. Bottom line: This movie is a whole lot less than the sum of its parts.
  25. One smart thing Green's character Ezekiel does is split from Sex Drive as soon as his two scenes are over.
  26. What's up with director John McTiernan? The man has got to get a career of his own -- sponging off the pale leavings of Norman Jewison just won't do.
  27. Forgettable.
  28. Instead, you get a nominal character study that boasts a single mighty performance and one nifty scene; alas, both performance and scene exist in a narrative vacuum - the plot is non-existent and the pace makes the ice age seem hasty.
    • 34 Metascore
    • 38 Critic Score
    Erased, I predict, is a word that will be used to describe what happens to your memory of this cloned facsimile of a movie immediately after watching it.
  29. This story, like many of Towne's own, does not come with a happy ending. Or beginning, for that matter, because it's almost immediately clear that Ask the Dust bites the dust -- his dream movie is stillborn.
  30. Rambo's return is thick with usual thrills. [26 May 1988, p.C1]
    • The Globe and Mail (Toronto)
  31. Filled with visual potential, yet Levinson can't tap it. He's just a whole lot more comfortable trying to tame the human software than the technical hardware.
  32. A plot so thin you could filter coffee through it.
  33. It’s hard to argue with the title here – Safe Haven, indeed. This is all about safety in the Hollywood workplace. Why make a movie when making a Hallmark-card-with-dialogue is so much less risky?
  34. Baby Boom has the fluffy amiability of an innocuous sitcom. In their rightful place on the shrunken sets of the small screen, its teeny characters would seem comfortably at home. But blown up to feature dimensions, they betray their flimsy origins, looking thin and transparent, just a bunch of under-considered ideas decked out in over-sized finery. [10 Oct 1987]
    • The Globe and Mail (Toronto)
  35. I confess to a deep uncertainty about whether this can be rightly called a movie. A bunch of scenes, maybe... I confess to a cynical belief that Lola isn't actually a role but just a succession of costume changes.
    • 49 Metascore
    • 38 Critic Score
    All would be forgiven if Peter were worth believing in. Instead, the boy who wouldn't grow up comes off like a shrill, obnoxious little drip. Shrek should give him a right pounding.
    • 37 Metascore
    • 38 Critic Score
    Sure, the food looks good and the prayers are worth hearing, but there just isn't enough wine in the world to tempt the prophet Elijah into dropping by this household when this is the company he'll get.
  36. The high point might be the opening scene, before the stars arrive on screen.
  37. One of those purposefully glum studies in alienation that Hollywood occasionally produces as blue-state specials for disenchanted liberals.
  38. Basic Instinct 2 is double trouble -- the femme is to die for, the film is to die from.
  39. The intriguing thing about The Peaceful Warrior is that nothing else in the movie feels haphazard.
  40. Despite their hackneyed characters, Smith and Lewis create a tiny spark and add a little humour. Without them, Catch and Release would be totally dead in the water.
  41. Isn't so much a movie as a 90-minute Trivial Pursuit contest to name bit players from TV's distant past.
    • 35 Metascore
    • 38 Critic Score
    Since the movie has so little conviction, or personality of its own, it's a walk you can easily forget.
  42. Brick Mansions is a non-starter: It chokes on its déjà vu, the hyperactive Mixmaster editing is exhausting and the characters’ banter is so leaden it might violate federal emission standards.
  43. Yes, from "Blonde" to "Bunny," it's abundantly evident that the two scribes have mastered, truly mastered, the serious art of self-plagiarism.
  44. Herbie without the herb has never been my cup of tea.
  45. The result is a curious mix - a picture that simultaneously seems meanderingly loose, affording the cast plenty of performing space, and suffocatingly tight, choking off the audience from any interpretive engagement.
    • 41 Metascore
    • 38 Critic Score
    With its latest, The Quiet Ones, the company continues a tired trend, choosing the trite over the terrifying. The stale tone is struck from the outset with four simple words: “Inspired by actual events.”
    • 39 Metascore
    • 38 Critic Score
    A few striking images keep our attention – like evil warrior Rain (Michelle Rodriguez) seated menacingly with an assault rifle on a playground swing in the 'burbs. But the film's title promises payback, without offering ample compensation.
  46. Meant to explore anger, all this picture does is manufacture it.
  47. It is a disappointment - just intermittently engaging, and lacking the cohesion of his best efforts, it seems less a fully realized feature than a film-school foible. [30 Aug 1996]
    • The Globe and Mail (Toronto)
  48. The result is a small independent film suffering from a severe case of Hollywood-itis. A cautionary tale minus the caution, Just a Kiss is just a cop-out.
  49. The most disturbing aspect of Cold Creek Manor -- a predictable, disjointed "Cape Fear" knockoff -- is that a script this disjointed and unoriginal could actually get the Hollywood green light.
    • 25 Metascore
    • 38 Critic Score
    The film's putrid sexism is subverted in a series of sharp and funny scenes that at least raise Sorority Boys to the level of "American Pie."
    • 48 Metascore
    • 38 Critic Score
    By throwing herself headfirst into scenes that a more cautious actress might beg off, Green earns herself a citation for valour – a Purple Heart in a movie that’s otherwise way too grim and grey for its own good.
  50. Who wants to watch any film where Sarandon, the sexiest 60-year-old woman alive, is first prize in a corn-eating contest?
  51. Refn’s expectation-defying choice is laudable in theory, but Only God Forgives is a pretty awful drama.
    • 41 Metascore
    • 38 Critic Score
    It is all so intentionally ridiculous that it gets boring, and you just wait for the next big cornball revelation to momentarily jolt you awake, like Sofia Vergara strapping on her machine-gun bra, or Lady Gaga’s appearance as a hit woman. Machete kills, sure. Unfortunately, he overkills.
  52. The movie's dated, stereotypical comedy often contradicts its wholesome intentions, coming across as laboriously cutesy and occasionally perverse.
  53. Don't mean to boast, but I can suspend my disbelief as willingly as any credulous moviegoer. Yet not even an industrial crane would have helped here.
  54. The lower orders seem to have been left out of The Lost City -- there just aren't any poor characters -- which for a movie about a workers' revolution seems downright slipshod.
    • 26 Metascore
    • 38 Critic Score
    The storyline is a sinkhole that swallows up any sense and suspense.
    • 47 Metascore
    • 38 Critic Score
    A Michael Bay-branded time-travel fiasco, made for teens and seemingly by them, too.
  55. All the borderline pantomime acting and wigged buffoonery is deliberate and silly, but The Three Musketeers remains charmless, a romp brought down by its lead-footed script.
  56. A twisted, but not particularly clever, black comedy.
  57. With its stilted dialogue, fragments of voice-over and over-busy camera, Red Riding Hood feels off-kilter from the start.
  58. Definition of redundant: A formulaic Hollywood pic that calls itself Déjà Vu.
  59. Scott means for his entertainment package to be hip, hysterical fun. But his stylistic embellishments and indiscriminate appetite for sensation crowds his title character right out of the film.
  60. Despite being set in 1958 Cuba, Havana Nights sticks to the formula. This would be perfectly acceptable if the dancing was "dirtier" and if there was a spark between the young couple.
  61. There are a few laughs at the start of This Is the End, and a couple more at the end of This is the End. As for the endless middle, it’s middling.
    • 35 Metascore
    • 38 Critic Score
    Though a few scenes drum up some intensity -- that green ham Gustave makes one last great appearance -- it's mostly grim, dull and ugly, three qualities that nobody wants in a piece of multiplex filler about a surly reptile.
  62. This hunk of celluloid flotsam will come back sooner rather than later, washed up on the remote shelves of your local video store. My advice: shred the message, recycle the bottle.
  63. Some of the most memorable performances from great actors are also their worst: Add to that list Anthony Hopkins's turn as a sinister old Jesuit.
  64. After six years in development, this comedy starring and produced by Adam Sandler feels as slapped together one of the comedian's live-action buddy movies.
  65. The whole d--- thing can be summed up in three little words: yo ho hum.
  66. The United States of Leland has a resonance of "Elephant" without the visual poetry or structural sophistication, or "American Beauty" without the leavening comedy, but it's neither an insightful nor well-made film.
  67. Apparently, somebody thought it was time for a remake. Clearly, somebody was dead wrong.
  68. In the right hands, Good Boy! might have been a ripe bit of mischief. But except for an endless drum roll of fart jokes, what we get is stuffy liberal humanism that would bore the Oshkoshes off Al Gore's littlest nieces and nephews.
  69. By comparison to this effort, "Pineapple Express" seems like a model of thoughtful maturity.
  70. Runner Runner is a bad run of cliché clichés.
    • 48 Metascore
    • 38 Critic Score
    Throughout all this, Cage's lazy, dull performance – who knew there were so many ways to express smugness? – is enlivened only by poorly timed bursts of exuberance.
  71. The movie seems much, much longer than its 90-minute running time. [15 June 1998]
    • The Globe and Mail (Toronto)
    • 50 Metascore
    • 38 Critic Score
    Soulless and idiotic and abysmally scripted as it is, Anarchy, like its predecessor, feels mournfully relevant.
  72. For about 20 minutes, Phantoms, based on Dean Koontz's bestseller, keeps you guessing. After that, it barely keeps you awake.
    • 48 Metascore
    • 38 Critic Score
    There’s nothing inherently wrong with kid-friendly Fire & Rescue – the movie offers enough jokes and glitzy animation to capture its target audience as well as a few witty puns for their accompanying adult – it just doesn’t introduce any new ideas or compelling characters, traits that we’ve come to expect from high-level animated films.
    • 37 Metascore
    • 38 Critic Score
    Outré love stories are great, as are love stories that make viewers squirm. But they have to ring true emotionally, and despite its talented cast, Adore does not.
    • 37 Metascore
    • 38 Critic Score
    There ain't much to You Got Served, but at least this teensploitation flick is bookended by two frenzied sequences that fully exploit the visual potential of street dancing.
    • 55 Metascore
    • 38 Critic Score
    All the special effects in the universe don't make up for a lame plot, though. There's something foul about a Star Trek movie so apparently slapdash: the creators know that legions of fans will show up, no matter what. [18 Nov. 1994]
    • The Globe and Mail (Toronto)
  73. Most of the time the film is simply stupid; not offensive, just silly. [03 May 1983]
    • The Globe and Mail (Toronto)
  74. Spun is so hip it hurts.
    • 37 Metascore
    • 38 Critic Score
    Unfortunately, the only thing that dies harder in the movies than natural selection is careworn cliché, and Barry Cook and Neil Nightingale’s movie about a plucky, lovestruck pachyrhinosaurus named Patchi subjects our long defunct earthly ancestors to a fate arguably worse than extinction: a life lived in a world of cheese.

Top Trailers