The Globe and Mail (Toronto)'s Scores

For 4,413 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 Son of Saul
Lowest review score: 0 Coming to America
Score distribution:
4413 movie reviews
    • 41 Metascore
    • 50 Critic Score
    Revenge of the Nerds has some very funny moments and sturdy premise, but the revenge, when it comes, is not nearly as definitive as even the non-nerds in the audience would hope for. [25 July 1984]
    • The Globe and Mail (Toronto)
    • 33 Metascore
    • 50 Critic Score
    One part satire, two parts allegory, and several parts dreary sermon on the pernicious effects of America's gun culture.
  1. Feels like a period film in clumsy modern-day dressup.
  2. A mess of a movie – a sprawling PowerPoint argument that covers too much ground way too fast, dispensing Wikipedia-calibre essays on a variety of subjects, from a blurred bio of J. Robert Oppenheimer, creator of the atom bomb, to an unsatisfying sidebar on A.Q. Khan, the world's first door-to-door nuke salesmen.
  3. Aniston's constituency will enjoy seeing her again in Love Happens . She's lovely and fun to be with, as always.
  4. With seemingly twice as much action, a whole new complex of villainy, competing Iron Man suits, robots and love interests, Iron Man 2 sequel cashes in hard on the unexpected success of the first Iron Man from 2007 and somehow loses much of its soul in the process.
    • 28 Metascore
    • 50 Critic Score
    The young couple is far less compelling, which is one reason why the remake is only intermittently effective. Bland and dim-witted, it's hard to see why they'd attract Ryder's wrath.
  5. The movie isn't painfully bad, something to be "fully experienced"; it's just tediously bad, something to be fully forgotten.
  6. Rarely have I seen a movie which made me feel more skeptically Canadian. Please -- it's not true that you can do anything. Stop trying. You might make things worse.
    • 59 Metascore
    • 50 Critic Score
    Unfortunately, the film promises more fun and laughs than it delivers, and this meal tastes like too many that have gone before it.
  7. Could have taken a witty scalpel to baby-boomer posturings. But Dolman, whose instrument of choice is the rubber mallet of smarm, just isn't the man for the job -- he ends up enshrining the very hypocrisy that should be dissected.
  8. The script's attempt to splice together a fumbling love story with a portrait of toxic personality disorder feels incongruous, like a serving of porridge flambé au whisky.
  9. As well-meaning elegies go, especially ones to working stiffs prematurely ripped from their subterranean roots, Brassed Off is the pits: It's a miner opus in a minor key.
  10. By the final act, involving possibly the most far-fetched scheme since Dr. Evil aimed his death ray at Earth in "Austin Powers: The Spy Who Shagged Me," the indifference has become completely contagious.
  11. Killer Elite's major problem: motion at the expense of emotion.
  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. 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.
  14. What a featherweight epic this is, the kind of uniformed period piece where the watchword is pretty. Pretty costumes, pretty soldiers, pretty battles; pretty silly.
  15. Big Fat Liar becomes a progression of increasingly elaborate slapstick stunts, in the brutal, noisy "Home Alone" vein, in which the complexity of the pranks rarely yields a commensurate comic reward.
  16. As is often the case in these caper flicks, there’s too much plot for insufficient dramatic effect, and alert viewers will suss out where it’s all heading in the first five minutes.
  17. 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.
  18. The process of remembering that drives the book is gone from the film, boiled away until all that's left is the mundane residue of memory - mere incidents strung together as plot.
    • 55 Metascore
    • 50 Critic Score
    Conclusions and answers are perhaps luxuries that Sharma's film can't afford.
    • 37 Metascore
    • 50 Critic Score
    The Nut Job has a certain lo-fi charm, but it’s hardly a world-beater; with all due respect to Surly, Rocky J. Squirrel’s place in the pantheon would seem to be safe for another 50 years.
  19. 12
    Yes, Mikhalkov has set himself quite the agenda, but in the end the film is too much of a piece with its topic, intensely fascinating yet seriously flawed. The verdict? Guilty, with extenuating circumstances.
  20. 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.
    • 49 Metascore
    • 50 Critic Score
    Whether because of Madea's on-screen absence or the abilities of the two lead actors, Daddy's Little Girls is still a step up for Perry, boasting moments of charm that transcend the usual mess.
  21. Sporadically funny, twisted for sure, it risks becoming as repetitive and shrill as the kinds of programs it satirizes.
  22. Otherwise, Brody, Scott and Jenifer Lewis (as Montana’s imperious oft-married mom) give this formulaic material maximum comic spin.
  23. If you feel you might already have seen City of Ghosts, but can't quite place it, you'd be forgiven. Hollywood, never afraid of working a cliché to death, has turned out dozens of "City of . . ." films over the years.
  24. It might be called "It's Kind of a Thin Movie."
  25. Bronson is one of those “based on a true story” dramatizations where the theatrically staged drama only gets in the way of the more interesting truth.
  26. A potentially appealing story about a rescued disabled dolphin gets smothered with inspirational family values guff.
  27. A discordant mix of melodrama and chaotic farce.
    • 46 Metascore
    • 50 Critic Score
    What's curious about the film, in an anthropological way, is that it's made up of a series of false human moments yet remains entirely predictable.
    • 46 Metascore
    • 50 Critic Score
    Positively hops with jolts and frights but they're the cheap kind.
  28. In short, it's much fatter with less matter and a distressing shrinkage in thought.
    • 59 Metascore
    • 50 Critic Score
    There could be a fascinating and illuminating movie in this.
  29. The verdict is easy: Pfeiffer terrific, movie not.
  30. Except for one memorable interlude, the film just doesn't have near enough fun blasting spitballs at "Pirates of the Caribbean."
  31. Bedtime Stories does divide into two types of comedy: There's the story comedy, in which Skeeter dresses in costume when he performs slapstick and insults people, and then there are the real-life scenes, when he does the same things in regular clothes.
  32. Judged esthetically -- the only yardstick worth applying -- it can be safely placed in that long line of indistinguishable Hollywood mediocrities, all of them trying in vain to resurrect an awfully weary genre.
  33. This paint-by-numbers romantic comedy is chock-a-block with jokey stereotypes – Americans are obnoxious, Canadians polite, and the Greeks just dance – yet lacking in any real drama, only occasionally mustering enough charm or humour to rise above a predictable formula.
    • tbd Metascore
    • 50 Critic Score
    The film’s examination feels shallow.
  34. While not as edgy or funny as "The Mask," the popular 1994 "original" starring Jim Carrey, the movie offers eye-popping animation high-jinks and a warm-and-fuzzy story that reinforces what some would call family values.
  35. A shrill and silly affair, bordering at times on camp.
    • 50 Metascore
    • 50 Critic Score
    Just as the promising parody of prison films begins to catch fire, Friedman and Poitier douse it with a bucketful of realism. [13 Dec 1980]
    • The Globe and Mail (Toronto)
  36. In most every frame, Hartley takes pains to tilt his camera at odd angles – in other words, he's gone literally off-kilter, and it's just off-putting. What's worse, a further hallmark of the Hartley canon, his self-reflexivity, has begun to smack of self-promotion.
  37. The Muppet charm, always more at home within the intimate frame of a TV set, is gone here.
  38. While the film is well meaning and the joshing crew at Calvin’s Barbershop is a hoot, the Malcolm D. Lee-directed comedy is plagued by relentless mawkishness, indifferent storytelling, willful naiveté and clunky seriousness.
  39. The movie is no religious fringe event. It’s from a major studio (Sony), with an Oscar-nominated star (Greg Kinnear), adapted for the screen by "Braveheart" screenwriter Randall Wallace.
  40. Although the film and the actors keep on looking good, this solemn, soppy, fantasy has nothing to say about science or faith.
  41. Mangold's larger problem is trying to hold together a movie that jerks about in tone as much as it does location, veering between grisly humour and cutesy sentiments.
  42. Marks the emergence of a talented young actress. Not Britney -- who has the amateur's tendency to stand looking awkward after delivering her lines -- but Manning (Crazy/Beautiful), who plays Mimi with the gusto of a young Holly Hunter. Though she has little competition here, when she's on the screen she pretty much owns it.
  43. In the future, as recorded in the bible of British cinema, it will be written that "Four Weddings and a Funeral" begat "The Full Monty" which begat "Billy Elliot" which begat way too many pale imitations struggling to peddle the same brand of sloppy sentimentality. Amen.
  44. This is the brand of sentimentality that comes with a high concentration of saccharine and every taste of bitterness safely removed.
  45. Whether you fully embrace the Harry Potter phenomenon or simply live with it, there's no question that J. K. Rowling is an imaginative story-spinner. The trouble is that she has ruined the field for the legions of the second-rate.
  46. The disappointment here is that an intriguing psychological premise about a personality swap is never used to do anything more than provide the juice for a run-of-the-mill action movie.
  47. In your typical subpar Hollywood romcom, there’s only one tedious love story to put up with. Well, Valentine’s Day (such a clever title) does a whole lot better than that: It offers 10 tedious love stories to put up with.
  48. En route, the plot gimmick degenerates from clever to dumb, then gets forgotten entirely, and the last act simply poops out - the climax is a Bigger Bang that plays like the saddest of whimpers.
    • 38 Metascore
    • 50 Critic Score
    It’s a story where sex and being over 60 aren’t treated as mutual exclusives, which is pretty great in its own way.
  49. In the end, F*CK is at most a compendium of opinions and examples, and never feels like a story. Still, great casting and inventive visuals make it an entertaining big-screen experience -- and don't expect to catch it later on network television (otherwise it would have to be retitled BL**P).
  50. The film only really has a pulse when it switches to live action in a few brief archival snippets, most memorably in John Cleese's appropriately outrageous eulogy for his late friend, an offering in the name of "anything for him, but mindless good taste."
  51. The result is that, rather than tragedy, this unfolds like a plodding morality tale in which Wrath and Cowardice play out their respective parts.
  52. An ill-considered, utterly unnecessary remake of the 1941 pulp classic "The Wolf Man" starring Lon Chaney Jr.
  53. With a plot that thickens like congealed stew, this movie about a harmless nutbar, an attorney and a cabal can leave you lost in banality.
  54. They’re back for an entertaining enough 3-D sequel to their 2014 franchise revival, and so is the rest of the cast that includes foxy Megan Fox and her ability to wear a naughty schoolgirl outfit.
  55. A Master Builder really doesn’t work, hampered by odd casting, theatrical performances and a reductive interpretation of Ibsen’s play.
  56. Big, lavish and dumb as camel spit -- is proof that sometimes it's better to let sleeping genres lie.
  57. More rant than rollick, it's just ain't funny enough.
  58. RED
    The star turns are Red's raison d'être, with the winking performances filling the place of any credible dramatic tension.
  59. The script is terrible - a confounding mish-mash of action-thriller chases, sci-fi travelogue and phony political intrigue.
  60. This parade of admiration is almost as exhausting as the experience of a Motörhead concert.
  61. But wouldn't it be heavenly if a like proportion of Tinseltown producers believed in an existing need for a good script. Because this one ain't good; in fact, it's hellishly mediocre, the kind that aims for holiday charm and settles for workaday torpor.
  62. Running Scared's relationship to "The Cooler" is roughly that of industrial metal to a quaint torch song.
    • 33 Metascore
    • 50 Critic Score
    Puerile and idiotic it may be, but Superhero Movie is nonetheless smarter than most of its lowbrow brethren in the Hollywood sub-sub-category known as the spoof movie.
  63. Mostly feels as hackneyed as the first film felt fresh. It's a loud, puffed-up exercise in computer-generated heroics and battles that follows a pattern.
  64. And veteran director Costa-Gavras, whose early work ("Z", "State Of Siege", "Missing") proves that he's no stranger to sociopolitical complexities, might well have been the man to make it. But not from this script -- it starts off as puerile and then regresses.
  65. After the first hour or so of strained puns and wisecracks, you start feeling that the sooner the ending comes, the happier it will be.
  66. No longer content with simple conservatism, this horror is downright totalitarian.
  67. 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.
  68. Apparently, the idea of their passion is enough to save them from a life of boredom - if only it had the same happy effect on us.
  69. What hurts Miles Ahead, though, is a lack of imagination.
  70. A story based on exceptional facts gets converted into an unexceptional movie.
    • 47 Metascore
    • 50 Critic Score
    About 45 minutes worth of funny stuff awkwardly stretched to 84 minutes.
  71. The result is an offence-free, mild entertainment in which everyone from cast to scriptwriter seems to be winging it.
  72. The wee mousie is fun, all right, yet like the occasionally ragged editing, the fun just gets haphazardly wedged in.
  73. Hereafter is unpredictable enough to be consistently watchable.
  74. It tries too hard too early.
  75. It’s a goofy, confusing mess of a sequel, a cautionary tale of what happens when a filmmaker lives too long inside his own franchise to realize that no one takes it nearly as seriously as he does.
  76. In a kind of perverse alchemy, this film manages to turn that narrative gold into dross, and reduce the daunting perils of a 4,300-mile voyage to a ho-hum checklist. Welcome to the reverse magic of the movies.
  77. A paint-by-numbers vigilante movie with the usual rogue cop, murdered wife and trail of vengeance.
  78. While dance sequences are not particularly well edited compared to the new breed of dance flick, Wormald and Hough are exciting hoofers to watch.
  79. A sequel that immediately picks up the plot of its predecessor, and then proceeds to drive the redeemed franchise right off the deep, dark end.
  80. Maybe this stuff works on the page, in Chuck Palahniuk's darkly comic novel, but Choke is awfully tough to digest on the screen.
  81. Seems overstuffed and, in its own way, preachy.
  82. It’s just such a shining example of a dull studio comedy.
  83. Love Ranch bounces between tongue-in-cheek wackiness and soapy melodrama while rarely hitting a true note.
  84. As for De Niro, he seems to have licence to do what he wants here, without much help from the writers.
  85. Like an over-ambitious freshman with a term paper, Singleton raises every issue and illuminates none. And, again, this film is better when the combative heat rises, particularly when the long-telegraphed confrontation between Malik and the neo-Nazi finally comes to a (skin)head. [13 Jan 1995, p.C3]
    • The Globe and Mail (Toronto)

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