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 Free Willy
Lowest review score: 0 Vacation
Score distribution:
4,041 movie reviews
  1. Three years in the making, seems fussed over and, occasionally, a little dull.
  2. If the plot thins, the performances don't. Brad Pitt's lank-haired loony, Juliette Lewis's crippled innocent, David Duchovny's well-meaning hypocrite, Michelle Forbes' black-clad shutterbug - each is a deeply etched portrait that fulfills its early promise. [24 Sep 1993]
    • The Globe and Mail (Toronto)
  3. Haven't they created a movie that is ultimately a soulless clone of a vibrant original and, thus, a splendidly dull example of the very forces it warns us against – the forces of grey and passion-sapping conformity.
    • 55 Metascore
    • 50 Critic Score
    The relationship between reporter and subject is always a tricky one, but in Resurrecting the Champ it's downright delusional.
  4. The new heist movie Takers is surprisingly okay.
  5. Distinctly middling, London-set romance.
  6. Despite the 3-D gadgetry, there's a musty odour to the script.
  7. In the recent "Half Nelson," a similarly themed classroom pic, liberalism struggled to balance its lingering hopes with its systemic despair. That film was pure fiction, yet felt absolutely true. This one is apparent fact, yet seems abjectly false.
  8. An excessively brutal adventure comic book is exactly what it has set out to be - a medieval Heavy Metal. [14 May 1982]
    • The Globe and Mail (Toronto)
  9. When Queen of the Damned knows it's ridiculous, it's moderately entertaining fun; when it tries to be serious, it's truly ridiculous.
  10. This time the script makes scant metaphoric use of the mall. In fact, metaphors are generally in short supply here. Scares too.
  11. 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.
  12. Fans of both Ridley Scott and Russell Crowe should not be too bummed with the mild sedative that is A Good Year.
  13. The Invisible isn't the formulaic horror film that the studio is selling it as but surely it wasn't supposed to be an accidental comedy either.
  14. But there's still Murray, who drives the idea further than it has any right to go. He energizes the loony schtick of the opening scenes. [17 May 1991]
    • The Globe and Mail (Toronto)
    • 63 Metascore
    • 50 Critic Score
    Occasionally engaging but very chaotic movie.
  15. What you're smelling is Ang Lee's "The Ice Storm" without the pathos and the punch, or John Updike's "Rabbit Redux" minus the insight and the style.
  16. Luckily for the viewer, Ferrell is an irresistible presence. His occasional moments of unwarranted weirdness are the only thing that makes this otherwise pedestrian movie bearable (let alone interesting) to watch.
    • 43 Metascore
    • 50 Critic Score
    A low-budget American horror film that's already established itself as a fan favourite, Malevolence flaunts all the trappings of an old-school slasher flick.
  17. Formula sequel right down to its zany subtitle -- Armed and Fabulous. Bullock deserves better. We deserve better. Rev up that '57 Chevy.
  18. The picture's broad outline may be fact, but everything inside gets painted in a deep shade of bogus.
    • 45 Metascore
    • 50 Critic Score
    Perry's methods are never subtle, but no contemporary filmmaker works harder to make sure ribs are tickled and tears are jerked.
  19. Had Crossing Over chosen to tell one of them well, rather than seven badly, it would have made for a fine movie. Instead, all we get is a mess of good liberal intentions loosely anchored to a mass of pure Hollywood hokum.
  20. Farrell looks so stymied we feel for the guy -- and when the door closes on A Home at the End of the World, that's the only feeling in town.
  21. Really, Young Victoria is just a lot of costumes in fond search of some drama. And finding precious little.
  22. Hoffman’s role is an important one, but not a big one. He’s not called upon to bring a lot to the table, and, as a pro, doesn’t muscle up his part.
  23. Unfortunately, this reverent and old-fashioned biopic is a prime example of the kind of inspirational movie that is, itself, uninspired.
  24. The terror sequences (not only animals but monsoons and earthquakes and quicksand) are scary until they get monotonous: after a while, you have a sense you're watching a clip reel from every Hollywood disaster flick ever made.
  25. Pakula's screenplay looks to bulldoze a clear path through the narrative thickets, but this stuff is impenetrable - meant to be complicated, it's just confusing.
  26. Pan
    In fashioning a creation myth for Peter Pan, director Joe Wright and writer Jason Fuchs have produced such a thin story that they reduce, rather than amplify, J.M. Barrie’s famous characters.
  27. The Rock is just typical big American dumb fun.
  28. This is the stage experience documented on film, from the perspective of someone sitting front row centre watching actors pitching for the back rows of the balcony.
  29. As directed by Robert Zemeckis from a script he co-wrote with Christopher Browne, the film limps through its first two acts, putting in time until the big moment.
  30. From time to time, as Alexandre Desplat's insistent score surged yet again while the characters rushed by, I found myself wanting the movie to slow down. Some of these images are too beautiful to disappear so quickly.
  31. Isn't really a dull film so much as an oddly quaint one that seems to find a comfortable perspective about drastic circumstances.
  32. The characters don't stay still long enough for the audience to worry about them. The high-priced actors (Freeman is especially wasted) are so much flotsam in the big water-tank action scenes.
  33. The greatest story ever has finally been told. Or, if you prefer, the damn thing has come to its merciful end.
  34. 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.
  35. Contains fascinating footage – material from the 1980s that looks to be the work of angry, ancient Norse warriors. There is, however, almost no perspective here. Perhaps the filmmakers succumbed to a condition associated with a city east of Oslo – the Stockholm Syndrome.
  36. All that starring talent isn’t exactly wasted here; it’s just diluted, watered down enough to demote “really funny” to sort of funny, now and then, here and there, some of the time. Hey, it’s the movie biz.
  37. Piranha 3DD is overcrowded and pointlessly mean. The stunt casting of David Hasselhoff playing himself, riffing off his infamous 2007 drunken home video, gets in the way of the storyline.
  38. It's the same package with new wrapping.
    • 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.
  39. Think of Sleepover as a girl gang movie with training wheels.
  40. Certainly not a stinker. Yet despite its squeaky-clean appearance, this family flick has a pervasive and decidedly stale aroma.
  41. Directed by Brian Percival, best known for his work on "Downton Abbey," the film has the similar quality of a well-appointed historical soap opera.
  42. Judged by the usual aesthetic standards – Project X sucks. It's just another lame movie. Yet apply a different standard, the mores of our time, and you get a different verdict: Suddenly, it's a perfectly lame movie that speaks intriguingly to the way we live now.
    • 50 Metascore
    • 50 Critic Score
    Lovely Molly is determined to remain ambiguous, but the title says it all. Good-Lookin' Joanie just wouldn't have the same ominous ring to it.
  43. Begins audaciously but goes to extremes to assert conventional wisdom about grownup life, that what is called "normal" is about just holding on.
  44. The movie is a competent formula kid flick stuffed to the dimples with movie deja vu, a sop to those Hollywood-bashing politicians who want old-fashioned family values on their celluloid. [17 Nov 1995]
    • The Globe and Mail (Toronto)
  45. It's kind of fun but the twists and turns are all too familiar.
  46. Young male earthlings should like everything about Race to Witch Mountain. Just make sure you race your caffeinated charges to the washrooms right after the movie to defuel so there won't be any accidents on the space shuttle home.
  47. So it's puffed up with lots of extraneous stuff – Super fun for the kids but for grown-ups? Just fluff.
  48. The narrative, cobbled together from various Pooh stories by an army of writers, is held together reasonably well by John Cleese's soothing narration.
    • 68 Metascore
    • 50 Critic Score
    A good, breezy once-over-lightly on the life and times of a Hollywood titan, but not much more.
  49. The Ringer is a movie whose good intentions shine a lot brighter than its art.
  50. There are scenes that may make your stomach feel uncomfortable for a moment but rarely stories that will upset your equilibrium.
    • 46 Metascore
    • 50 Critic Score
    The director also makes a nod to Japan's rich history of genre filmmaking by casting action legend J. J. Sonny Chiba as a cigar-smoking yakuza. Chiba's presence momentarily classes up a passable youths-ploitation flick into a transcendent piece of movie trash.
  51. Woefully short on script, the picture ends up disappearing down the wormhole of its own premise.
    • 46 Metascore
    • 50 Critic Score
    Although ably directed by feature first-timer Ruairi Robinson, and gamely performed by a cast professional enough to feign alarm and surprise, The Last Days on Mars ultimately confirms what science has already spent billions of dollars establishing: There’s just no life here.
  52. This is the one Murakami work that would seem an ideal candidate for the leap from page to screen. It should be a good movie. But it isn't.
  53. Destined to disappear into the quicksand of time, too innocuous to be hated, too bland to be remembered, just awaiting some bright optimist in a distant future to press the do-over button.
  54. The result is less a screenplay than a manic quote machine.
  55. It would be easy to dismiss Celebrity as merely a wafer-thin picture about the wafer-thinness of our narcissistic culture. But the truth is shallower and even less engaging -- this flick should have been called “Unpleasantville.”
  56. It's really a lazy comedy that is content telling a crude and corny Hollywood story with a Mexican accent.
    • 42 Metascore
    • 50 Critic Score
    Crooked Arrows is no "Rocky." It lacks the emotional momentum required for that. But if it's just light, family-friendly entertainment you want, Crooked Arrows fits the bill.
  57. The only effect is to produce that most commonplace of Hollywood paradoxes -- a mood simultaneously frantic and listless.
  58. This is one of those ludicrous, semi-offensive, semi-entertaining potboilers that feels as if the script were dragged out from someone's naughty-book stash.
  59. The one source of relief comes from the score -- a sampling of period ditties by the likes of the Rolling Stones, Bob Dylan, Janis Joplin and Neil Young.
  60. Prime seems aimed at prime-time television, with endless iterations on the same theme of "frustrated relationship" that will finally get resolved during sweeps week in the season before cancellation. Call it: My Mama, the Shrink.
  61. World-weariness is not really the energetic star's best driving gear. Nor are declarations of menace intended to identify Jack Reacher as a modern-day mythic avenger. When he tells an enemy, through his clenched choppers, "I mean to beat you to death and drink your blood from a boot," the effect is, unintentionally, popcorn-spitting funny. Talk about overreaching.
  62. Fitfully interesting, occasionally cringe-worthy, this is the sort of stagy production that mixes ribaldry and campy overacting that evokes summer theatre productions.
  63. For the better part of this movie, Elektra appears to be a sensible, stylish young superhero.
  64. This feeble documentary ends up perpetuating the very hypocrisy it means to probe.
  65. The premise (and the promise) here, of course, is that, as the miles pass, the two will be as chalk is to cheese, oil to vinegar, an apple to an orange. And indeed this is what happens. Unfortunately, it's about the only thing that happens.
  66. LawAbiding Citizen smells a bit musty these days. Indeed, in an era when the debate has shifted from too little state vigilance to too damn much, this thing seems almost quaint.
  67. Unlike "Microcosmos" (all insects) and the acclaimed nature doc "Winged Migration" (all birds), Genesis is bogged down by its intentions and too vast a "cast."
  68. Winterbottom's efficient yet prosaic approach is evident from the first grimy frame. [18 Oct 1996]
    • The Globe and Mail (Toronto)
  69. The film, shot in black-and-white at canted angles, suggests an R-rated Twilight Zone episode with a twist of Fellini-lite, in a trite film school kind of way. Mickey Mouse is unlikely to be shaking in his big yellow shoes.
  70. The sickly feeling that Body of Lies leaves at its conclusion isn't just about the brutality of its subject; it's the realization that real-life barbarism translates so easily into adrenaline kicks for the multiplex.
  71. Like its predecessors, Under the Sea is family-friendly viewing -- the great white shark swims by, as opposed to tearing prey to shreds. Its goal is to show biodiversity and offer information on how reefs grow, reminding us of threats to these environments.
  72. 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.
  73. For a screwball comedy, it takes a long time to wind up, and Kline's Frenchman is an outright cartoon. But Ryan manages to hold attention. [6 Oct 1995, p.C2]
    • The Globe and Mail (Toronto)
  74. Whatever glimmers of cleverness Martian Child offers, it all comes to Earth with a thud in the shamelessly manipulative climax.
  75. In the end, this tale of human decency fails to make you feel enough.
  76. 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.
  77. The stunt work is top-notch; the dialogue and drama often food-spittingly funny. I can hardly wait for Extreme Ops II, perhaps set atop a South Sea island volcano, with North Korean agents and parasailing.
  78. There's something here for everyone to dislike - the whole clan can have fun making fun of this thing.
  79. Plays it a little too safe and hackneyed with the comedy, but the characters and the talented actors who play them are a refreshing change of pace that make the movie feel like a minor buddy-comedy revolution.
  80. It uses violence as a drug, injecting it into the audience and hoping to addict it. Once the dependence is created, it is simple to feed it with formulaic films.
  81. There must be something about the thriller/horror genre that attracts writers with exactly the same dysfunctional tendencies: They're all great at the foreplay but keep on messing up the climax.
  82. Long, windy, diffuse in its message and blunt in its satire.
  83. Sad news for Bard watchers: Julie Taymor's adaptation of William Shakespeare's The Tempest is not such stuff as dreams are made on.
  84. If plot were oats, Wicker Park would choke a horse.
  85. Remember Pam? Lost in the Himalayas of big egos and overacting, she's the invisible character here. If they create a special Oscar for the most thankless part in an ensemble comedy, Teri Polo is a shoe-in.
  86. Memo to screenwriters cranking out murky existential thrillers: Do not have various characters repeat on several occasions: "I know this doesn't make any sense."
    • tbd Metascore
    • 50 Critic Score
    At once a departure from and a follower of teen-movie form, and the fact of the former almost forgives the fate of the latter.
  87. Quaid doesn't have much to work with, and so deflects the portrayal away from the mind toward the body – consistently giving the coot a hunched, pigeon-toed gait. Nice try, but that bird won't fly.
  88. No, there isn't anything wrong with comfort entertainment. Then She Found Me could have, should have been something special - a "Knocked Up" for weary boomers. The only hitch is that it isn't all that entertaining. Nor comforting for that matter.
  89. With his heavy features and grimacing shyness, Dante provides the best entertainment in Swimfan.

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