The Globe and Mail (Toronto)'s Scores

For 4,909 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Mad Max Beyond Thunderdome
Lowest review score: 0 Transformers: The Last Knight
Score distribution:
4909 movie reviews
  1. Waters's rude, lewd and occasionally nude extended skit takes a simple idea and beats it limp.
    • 60 Metascore
    • 50 Critic Score
    The narrative is tightly written, fast-paced and delivered with a scorching, emotional intensity by the actors. The timeline – which moves from the dank cellars of wartime Poland, to concert halls in 1970s Berlin and Sephi’s staid music academy in Jerusalem, is smoothly interwoven. Still, the drama seems overwrought at times, even cliché.
  2. The result is an intriguing but uneven thriller that doesn’t fully establish the tone and style that would be needed for an audience to accept its supernatural plot.
  3. Continuing directly from where 2010’s "Insidious" left off, Insidious: Chapter 2 follows the further misfortunes of the Lambert family with diminishing insidious rewards.
  4. 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.
  5. 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.
  6. For its last third, the entire thing gets a Frankensteinian head transplant, and turns into derivative serial-killer nonsense.
  7. 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.
  8. 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.
  9. 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.
  10. 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)
  11. As her oddly unengaged zoologist husband, the Belgian actor Johan Heldenbergh appears to be working in a different movie altogether.
  12. 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.
  13. The formula is a bit too neat and the dialogue is often painfully expository, but there are some fine performances – especially from Gillian Anderson as the earnest Lady Mountbatten – and plenty of compelling drama.
  14. 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.
  15. The Last Circus is a bizarre, surreal, grotesque, fascinating, demanding, disappointing and ultimately exhausting political allegory that plays like a waking nightmare.
  16. 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.
  17. 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.
  18. Brody plays opposite Yvonne Strahovski, whose femme fatale is less like Lauren Bacall and more like Sharon Stone. Unfortunately, Strahovski’s flat portrayal lacks the basic instincts of Stone, though she does uncross her legs, and that is central to the curve-balling, sex-tape plot.
  19. Though bathed in ecclesiastical light and a work of obvious craft and ambition, Bee Season is grimly serious and rather full of itself.
  20. 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.
  21. All hell breaks loose and it's a heck of a lot of fun to watch.
  22. 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.
  23. 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.
  24. Spy Kids 3-D: Game Over, is still offbeat, but more in the sense of unco-ordinated than syncopated.
  25. 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.
  26. Feels stale, bloated and willing to get by on sheer familiarity.
  27. A movie that serves up what its debauched subject would never have countenanced -- sanitized smut with a moral attached.
  28. 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.
  29. Sea Of Love has got a lot of things going for it: it's got two strong lead performances; it's got some down-and-dirty dialogue and a few sexy scenes and a couple of yuks and a nifty title tune. What it ain't got is plot, and thus suspense, and thus thrills. [15 Sep 1989]
    • The Globe and Mail (Toronto)
  30. Confused, and confusing.
  31. You can see Rock hedging his bets right from the opening frames.
  32. So why, despite everyone's best efforts, does all this bigness seem so small and unfocused and simply not up to the task?
  33. 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)
  34. 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.
  35. 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.
  36. The result, as a colleague once so aptly put it, is less film noir than film beige.
  37. 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.
  38. 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.
  39. 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.
  40. A mixed bag of old-school and contemporary horror tricks that occasionally raises a hair prickle of intrigue.
  41. It's scary how unfunny this flick is.
  42. 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.
  43. 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.
  44. 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.
  45. A good-looking but anecdotally slight dramedy about life and lifestyles in Los Angeles's hip Silver Lake district.
  46. All in all, it’s many prayers short of a revelation.
  47. 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.
  48. 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.
  49. Love the kid though, and Statham too – it takes a star with quality to be so rock solid in a crumbling yarn.
  50. The narrative of Lonesome Jim pokes about aimlessly, trying to mine nuggets of amusement.
  51. 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.
  52. Accepting the final twist of The Girl From Monaco depends on whether you're in the mood.
  53. 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.
  54. A dull, formulaic romance comedy with an ulterior motive and a sly message. Remarkably, the message is this: "Please Re-elect George Bush."
  55. 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!"
  56. 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.
  57. 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.
  58. In the rap-music, slam-dunk, hysterical tumult of visual clutter that makes up most of Space Jam, the traditional Warner Bros. 'toons get scant attention. In this marriage of corporate logos, the manic little characters serve simply as more names to be dropped. What Space Jam really lacks is respect for an irreverent tradition. [15 Nov 1996, p.C4]
    • The Globe and Mail (Toronto)
  59. 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.
  60. 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.
  61. The shipwreck comes too late to rescue movie from endless banalities. [02 Feb 1996]
    • The Globe and Mail (Toronto)
  62. There's plenty here to keep summer comedy fans satiated, if not entirely satisfied.
  63. A shoot-'em-up for cynical times. Its only asset is Seagal himself, and frankly, he's is getting a bit past it.
  64. It might better be titled The Awkward.
  65. 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.
  66. Though it is shaped as a woman-in-peril thriller about obsession, Cherish is about being winningly kooky, not violently insane.
  67. Fascinating, even when it's fascinatingly bad.
  68. 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.
  69. 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.
    • 44 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.
  70. Feels like a period film in clumsy modern-day dressup.
  71. 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.
  72. Aniston's constituency will enjoy seeing her again in Love Happens . She's lovely and fun to be with, as always.
  73. 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.
  74. The movie isn't painfully bad, something to be "fully experienced"; it's just tediously bad, something to be fully forgotten.
  75. 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.
  76. Unfortunately, the film promises more fun and laughs than it delivers, and this meal tastes like too many that have gone before it.
  77. 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.
  78. 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.
  79. 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.
  80. 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.
  81. Killer Elite's major problem: motion at the expense of emotion.
    • 42 Metascore
    • 50 Critic Score
    Clumsy, derivative, mildly amusing and ultimately forgettable.
  82. 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.
  83. 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.
  84. 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.
  85. 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.
  86. 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.
  87. 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.
  88. 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.

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