The Globe and Mail (Toronto)'s Scores

For 5,101 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Tequila Sunrise
Lowest review score: 0 The Hangover Part III
Score distribution:
5101 movie reviews
  1. The plot is stale though some of the moves are fresh.
  2. With your sharper minds, you'll probably figure it out. I hope so. Hope you'll like the movie too. But here's a bit of advice: Don't bet your allowance on it. Make Daddy pay.
  3. With a couple of more drafts to mend the plot holes and restructure the middle act, Awake could have been saved.
  4. Yes, the filmmaker and co-director Duke Johnson laboured for years over this project, and their set design is often astonishing. But that doesn’t mean the film is a masterpiece, or even half a masterpiece.
  5. The juxtaposition of Loretta learning how to be a good capitalist and the historical flashbacks to her ancestor on the block at a slave auction rings unintentionally awkward. The good intentions, though, aren't in doubt: For the sake of the generations who have made sacrifices before her, Loretta has an obligation not to waste her life. [24 Dec 1998, p.D6]
    • The Globe and Mail (Toronto)
  6. The sequel is often loud, occasionally obnoxious and so consistently convinced of its own awesomeness that it will not, it cannot, stop pointing out everything that makes it so utterly wonderful.
  7. 3 Days to Kill is a comic variation on the "Taken" movies, which Besson also co-wrote and produced, starring Liam Neeson as a daughter-rescuing spy.
  8. Every scene is perfectly framed, every symbol lovingly shot, but the story and the characters remain opaque.
  9. Zootopia takes the cultural practice of posing animals as human characters to queasy new heights.
  10. The Lost Skeleton also reminds you that real filmmaking -- the illusion of one event following another -- is actually a skill.
  11. It's always rather sad to watch gifted performers stranded in a tepid thriller. You can see them, as professional pretenders, trying to believe that they're creating a character, but the lie is transparent -- all they're really doing is advancing a retarded plot.
  12. No doubt the audiences in the Coliseum would offer a thumbs-up to the scale of the destruction, though even they might have had some quibbles about the special effects, which, too often, resemble a very large pile of melting crayons.
  13. In the shock department, the ante has been upped, way up, and a mere kitchen knife through a shower curtain just doesn't cut it any more.
  14. The humour is based entirely on inversion which worked in your cartoons, and even on the TV show, but it's not enough to hold up a movie, even with the helping hand provided by a disembodied hand. [22 Nov 1991]
    • The Globe and Mail (Toronto)
  15. If this is meant to look fresh while still being sensitive, it doesn't and it isn't.
  16. Though complete redemption of Brown's fiction may not be possible, Howard's new film at least represents an upgrade from a mortal to a venal movie sin.
    • 37 Metascore
    • 50 Critic Score
    So yes, if you’ve seen "The Bible," you’ve already seen most of Son of God – but if there’s one story where spoilers just don’t apply, it’s the Greatest One Ever Told.
  17. Ultimately, his (Silver) film settles for a queasy mix of high-toned intentions and commercial compromises.
  18. Perhaps too much energy was spent on being stylish rather than simply low-rent horrifying. The upshot is not very stylish and not very scary.
  19. A painfully predictable movie.
  20. Instead of a madcap farce, the movie grinds along into a series of laboured comic bits.
  21. There are lively, compelling scenes, particularly in the first hour - Raimi has an indubitable talent for camp mayhem - but the picture escalates into absurdity and the last half hour, essentially a chase sequence, is marred by suprisingly cheesy special effects. [24 Aug. 1990]
    • The Globe and Mail (Toronto)
    • 54 Metascore
    • 50 Critic Score
    It’s a timely narrative subject, but its treatment in The Reluctant Fundamentalist is fundamentally flawed.
  22. Although I haven't read Nights in Rodanthe, I have to assume there is material in the book that would have helped the movie make hearts thud instead of fingers tap.
  23. Like the first movie, Princess Diaries 2 relies primarily on the chemistry and screen appeal of Andrews and Hathaway to elevate the storytelling above the level of mush.
  24. Frozen would get props for a novel plot, except that its storyline appears to be ski-lifted from the "Curb Your Enthusiasm" episode where Larry is stuck on a chairlift with an Orthodox Jewish woman who is terrified of being seen with a man after sunset.
  25. Providing expectations are kept low, there’s some fun to be had in the elaborately preposterous action set-pieces, and especially Jason Patric’s campy performance as the movie’s villain.
    • 60 Metascore
    • 50 Critic Score
    Michael Shannon is an overpowering actor, and in The Iceman, the best that he can do is wrestle the movie around him to a stalemate.
  26. The Last Witch Hunter is redeemed through complex visual-effects work that aptly illuminates Goodman’s netherworld. Further, Diesel’s stolid performance is balanced through the supporting star power of Caine – even with criminally limited scenes – and Rose Leslie’s “dream walker,” whose earnestness makes even the world of a macho witch hunter seem entirely plausible.
  27. Remember the final page of Gatsby, a real American tragedy, when the green light beckons us into an ever-receding future? Now that was a mystery. This is, well, Pittsburgh.
  28. Funnier than any movie called Hot Tub Time Machine has a right to be. And how funny is that? Not very, but a little, occasionally – just enough.
  29. From the base-model script to the assembly-line thrills, everything about Hide and Seek is generic except its star.
  30. Most of the personality work in the film is left to Steve Zahn.
  31. Having seen the TV series "Hogan's Heroes," we already know that a German prisoner of war camp can be cartooned; Hart's War goes further as a cartoon that takes itself seriously.
  32. Bolstered by a solid premise, this film starts out impressively enough - it looks to be a worthy character study. But it soon stops dead, wheels spinning badly, and then, hungry for momentum, lurches off in a completely cockeyed direction. [16 Oct 1992]
    • The Globe and Mail (Toronto)
  33. If nothing else (and there isn't much else), Part III rises above the wholesale clutter of its immediate predecessor, then contents itself with settling into an easy commercial groove. What remains is amiable kid's stuff, as sweetly forgettable as an orange Popsicle on a summer's day. [25 May 1990, p.C4]
    • The Globe and Mail (Toronto)
  34. Let's start with this certainty: No one but Quentin Tarantino could possibly have made Inglourious Basterds . Now add another: No one but his most ardent fans will be entirely glad that Quentin Tarantino did make Inglourious Basterds .
  35. Despite its trappings, despite its style, Birth is just a tall tale with a short reach.
  36. Adolescent boys will savour My Way's bombast and solemnity. Cringing adult audiences will more likely beat a retreat before final call.
  37. As it exists, Tenacious D in the Pick of Destiny is strictly for the tenaciously devoted.
  38. In terms of psychology, it's an abysmal failure, too real to be symbolic, too symbolic to be realistic. [25 May 1990]
    • The Globe and Mail (Toronto)
  39. Gruesome enough; what it lacks is a distinctive revolting personality of its own.
  40. The movie feels like something parents want their kids to see. Harold and Kumar wouldn't want anything to do with Beth Cooper or Denis Cooverman. You're probably not going to like them much either.
  41. Overall, Stalingrad is a bizarre concoction, part Putin-era patriotic chest-thumping and part creaky war melodrama, all set in a superbly recreated ruined city.
  42. A try-anything, fitfully amusing muddle that wears its mocking cynicism a bit too proudly.
  43. After seven trips made over four years, the production was about to wrap when the crew, aboard an icebreaker, encountered a polar bear mom and twin cubs that decided to hang around for a week – offering a rare opportunity to film the daily life of these notoriously camera-shy creatures.
    • 69 Metascore
    • 50 Critic Score
    Fault is at heart a full-throttle, by-the-numbers tearjerker.
  44. Great cast, too bad about the movie.
    • 55 Metascore
    • 50 Critic Score
    Easily the daffiest movie you've ever seen that also references incestuous role-playing games.
  45. Almost everything about this starring vehicle for Katharine Heigl feels borrowed from some previous romantic comedy.
    • 54 Metascore
    • 50 Critic Score
    Even as he cuts confusingly between talking heads and time periods, Kastner elides key details that might have given viewers a more complex portrait of both the setting and his anti-hero’s role in the drama.
  46. Alas, Schumacher doesn't ride on the momentum; worse, he's not an action director, and the film grinds to a dead stop every time it tries to speed up.
  47. With its wry tone and mild emotional disturbances, In the Land of Women is less a chick flick than a chick flicker.
  48. Poetic Justice is like that - so much worse than it should have been, and yet, for brief shining moments, so much better than any other 2-star film in sight. [23 July 1993]
    • The Globe and Mail (Toronto)
  49. Bay has attempted to carefully characterize and humanize each member of the security force, and Krasinski, Dale and Schreiber are largely successful at creating personable fighters.
  50. Though The Stoning of Soraya M.'s heart is in the right place, its head is lost in storm clouds of anger.
    • 41 Metascore
    • 50 Critic Score
    As a satire on the only true religion of the American South -- football -- The Waterboy is a delight.
  51. This little movie – it's only 83 minutes – seems so determined to if not avoid, then only caress the tropes of slacker films that it commits the worst sin for a comedy: It's boring.
    • 48 Metascore
    • 50 Critic Score
    When Farva sees O'Hagan in civilian wear -- a denim jacket and blue jeans -- he asks his boss, "Where'd you get the Canadian tuxedo?" Such moments may not be as exciting as the sight of Homer Simpson at the CN Tower, but they'll do.
  52. This sappy thing is a two-hour cheat that never plays fair for a nanosecond.
    • 45 Metascore
    • 50 Critic Score
    Not only does the 3-D format grant you a front row seat at this Jonas Brothers concert, but it puts sweet, sweaty Joe (he's the cute one) practically in your lap. For most JoBro fans, that alone is worth the price of admission.
  53. A screwball comedy about the abortion issue? First-time writer-director Alexander Payne gives it a college try.
  54. [The soundtrack] manages to serve up new rock, eighties dance music, rap and Barry Manilow -- a combination custom-made to annoy audiences of all ages.
  55. 3D Sex and Zen: Extreme Ecstasy fails to live up to either its promise or title.
  56. This is an adaptation that must have been hard to screw up, yet screwed up it has been. If the movie is far from dreadful, it's even further from the searing experience it could have been.
  57. First a bit about the movie, which really isn't one -- more like a 48-minute press release promoting the glories of NASCAR.
  58. Ultimately, even Lee appears to lose interest, flashing none of his usual visual panache and, at the end, content to forego any considered conclusion for a hunk of lumpy irony.
  59. The larger shell game here is that Edge of Darkness is offered as a political thriller, but with real-world politics removed. What we’re left with is a familiar mechanism for delivering a vicarious, violent, wish-fulfilment fantasy, with Mel in a familiar position, in the driver’s seat, pedal to the metal.
    • 55 Metascore
    • 50 Critic Score
    P.S.'s ending, a cautiously happy conclusion, feels like an afterthought.
  60. If this were funny, The Heat would add up to your average buddy-cop comedy. Except that it’s not funny, at least not very and not often.
  61. If you like your sports movies, especially your football movies, larded with more clichés than a politician's stump speech, Gridiron Gang begs to be seen.
  62. It's the most jumbled and tonally confused movie yet.
  63. Ultimately the ham-fisted Outcast shares less in common with Eastwood’s "American Sniper" than it does with his "Unforgiven" from 1992 and that western’s regretful killers.
  64. Turns out a movie about an infatuated bunch of Star Wars nerds can really set your teeth on edge.
  65. These days, when presidential bouquets are named Gennifer Flowers, and when we all know what Jack Kennedy did beneath the White House covers, this sort of Capra-corn, even in the guise of light comedy, just doesn't have the same taste. More salt, please, and hold the butter.
  66. Just who is Pixar aiming this movie at? Contemporary children or their great-grandparents?
  67. The style here is much more in the spirit of the smash and slash of the Conan movies than the banter and computer-generated monsters of the Mummy movies.
  68. A mundane sitcom with feature pretensions, the kind where the comic "situation" is simply a coat-rack for hanging a rag-tag assortment of inflated sight gags and telegraphed punch lines.
  69. The book floats sublimely above its dark theme; the movie sinks into the ridiculous.
    • 32 Metascore
    • 50 Critic Score
    While the punishments and triumphs are absolute, the entertainment value is highly equivocal. This ultimately relegates Untraceable to the ranks of so-so thrillers with legitimate but half-developed intellectual aspirations. And since you inspired the movie in the first place, part of the responsibility rests on, well, you.
  70. If your idea of a bargain is two bad movies for the price of one, then shell out for Man on Fire. And don't fret about that incendiary title because this thing is all fuse.
  71. A splashy ending does something to redeem the action before setting up the characters for a potential sequel but who needs more Dru?
  72. There’s also not much chemistry between Skarsgard and Robbie in a film that hints at the Greystokes’ great sex life but barely shows it. Instead, we get flashes of flesh that are hilariously dated in their obviousness.
  73. Kilmer is an improvement on Robert Hays of Airplane], but both gents perform with the facility you'd expect from a random sampling of Gentlemen's Quarterly models; like any svelte clotheshorse, Kilmer is good-looking yet self-effacing and he doesn't seem in the least perturbed that his wardrobe upstages him.[25 June 1984]
    • The Globe and Mail (Toronto)
  74. For all its merits - a lush canvas, a first-rate cast, a thoughtful director examining a theme directly relevant to his own checkered career - Vincent & Theo doesn't quite measure up. [16 Nov 1990]
    • The Globe and Mail (Toronto)
  75. The irony is worth noting: Back when it was really 1949, Hollywood made noir with teeth; this is nougat with pretensions.
  76. One of those headed-for-cable oddities that must have sounded like a good idea at the time.
  77. Not terribly funny. When it does strain for humour, it opts for Farrelly brothers-style gross-outs -- vomit and chewed food and blocked drains -- which makes the movie itself seem like some kind of undigested expulsion rather than a well thought-out idea.
  78. There's a head-pounding, gob-smacking literalness to this flick, extending from the title right through to the recurring imagery.
  79. Despite a superb cast and a fabulous look, the picture collapses under the weight of its lofty pretensions, especially in the black hole of the last act, where it topples into near-absurdity.
  80. A bit of a docu-mess.
  81. Certainly, this imagineered version of P.L. Travers’s life provides an orderly drama, but it’s uncomfortably reductive. It may be a small world, after all, but it comes in a lot more shades than Saving Mr. Banks suggests.
  82. Astro Boy definitely sets himself up for a sequel, and the overall scenario is ripe to explore many current issues. But let's hope the creators trade in the well-used parts for some fresh material.
  83. Much of Dodgeball feels competent but lazy. The nerds are barely distinguishable, except for one who thinks he's a pirate and says arghh a lot to no humorous effect.
  84. A larger discomfort with Extract is an ambivalent attitude about comedy and social class. Mocking an officious middle-manager is always fair game; ridiculing blue-collar workers who resent their mindless jobs just feels mean.
  85. Really, Casa de mi Padre is a skit blown up to a feature flick, amusing for a while until its welcome wears out.
  86. That the film – part dark comedy and part cinematic dare – is the most unusual sight you’ll encounter at the movies this year is not up for debate.
  87. For a movie aimed at children, Shark Boy and Lava Girl is gloomy.
  88. Actress Kristen Stewart – coolly intense, androgynous, and intelligent – remains the series' strongest asset, as Bela, the emotional centre of the story.
  89. Formula action films don’t come much more formulaic that this.

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