The Globe and Mail (Toronto)'s Scores

For 5,023 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 Eyes Wide Shut
Lowest review score: 0 Vacation
Score distribution:
5023 movie reviews
  1. When you combine the megawattage of Gyllenhaal and Adams with Ford’s directorial … well, “prowess” would be too strong a word, so let’s go with “vision.” So, when you combine those two actors with Ford’s vision, what you get is a ridiculous, high-camp mess that could easily be mistaken for substance, if it weren’t so irredeemably silly.
  2. 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.
    • 39 Metascore
    • 38 Critic Score
    Like the nasty comic books of many a misspent youth, Creepshow 2 is, deliberately, a sometimes lurid and overdrawn anthology. It consists of three unconnected tales of modern American death, a Creepshow comic book come to life. It is as if Romero and director Michael Gornick are determined to spare grownups the embarrassment of taking horror seriously. [01 June 1987]
    • The Globe and Mail (Toronto)
  3. If you have missed Janis Joplin, and if you have looked forward to Bette Midler's debut in a role she seemed born to play, you should leave the theatre at that precise moment. Almost everything else in and about The Rose, except a few concert sequences and the occasional occasions when Miss Midler falls out of character and into her stage persona of The Divine Miss M, is infuriatingly tedious, depressing, pretentious, obvious and downright pushy. [10 Nov 1979]
    • The Globe and Mail (Toronto)
  4. The movie, which banks on the popularity of the rest of the series rather than concern itself with details such as motive, doesn’t add up to much. Annabelle: Creation is a series of slowly opened doors and close-ups of a truly ugly doll whose makeup must have been done in the dark by a deranged artist similarly possessed.
  5. 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.
  6. Though Lillard's excitable tone keeps promising wild comic adventures, the sequences are uniformly flat and humour-free.
  7. 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.
  8. 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.
  9. The Boondock Saints II does, from time to time, display a vulgar charm. Or maybe it just wears you out.
  10. Stylistically, Baird seems keen to position Filth as a spiritual sequel to "Trainspotting."
  11. 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."
  12. 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."
  13. As directed by Bob Giraldi, well-known for his work in rock videos, Hiding Out manages to offer a brief catalogue of the cliches from both genres, before allowing the teen flick to take over. The film is essentially a series of comedy bits in the service of an MTV soundtrack. That soundtrack, which includes the first revelation of K.D. Lang and Roy Orbison's duet on Crying, may be the film's only creditable achievement. [10 Nov 1987]
    • The Globe and Mail (Toronto)
  14. 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.
    • 39 Metascore
    • 38 Critic Score
    The Wraith reveals itself as little more than formula teen-audience lure. Of some merit to the whole enterprise are two things: the lovingly photographed desert scenery and the hip and lively music score that drowns out most of the turgid dialogue. As far as the acting goes, it's a pity there are no blinds on the screen. [25 Nov 1986, p.D7]
    • The Globe and Mail (Toronto)
  15. The biggest high comes from the images evoked by the title alone, or the title in tandem with the movie poster, doesn't it?
  16. 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.
  17. Add them up and the sum has a certain mathematical inevitability: Really annoying characters, really annoying movie.
  18. A determined romantic comedy with a theme, and damned if it won't see it through.
  19. Guaranteed neither to offend nor delight.
    • 46 Metascore
    • 38 Critic Score
    After a car accident “aggravates an old skull fracture trauma,” Jane returns to the family-death-farmhouse, where she takes way too long to figure out the incredibly obvious person responsible.
  20. 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.
  21. 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.
  22. The picture is an inventory of film noir effects and attitudes, but Wenders has nothing new to say about the style, about the period, about Hammett or about the creative process. The Hammett case can be closed: a case of massive esthetic masturbation. [18 Sep 1982]
    • The Globe and Mail (Toronto)
  23. Lots of buildings and cars explode, but there isn't a spark between any of the characters.

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