The Globe and Mail (Toronto)'s Scores

For 3,928 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Crying Game
Lowest review score: 0 Far and Away
Score distribution:
3,928 movie reviews
  1. Here's the kind of movie thriller that can make you scream (in annoyance) and bite your nails (to pass the time) and sit on the edge of your seat (ready to bolt the theatre).
  2. Without Spielberg's technical pizazz, and with a gummy mixture of homage and spoof, Congo chokes on its own tongue in cheek.
  3. The Art of Getting By is distinguished by a dullness that's almost akin to being in high school again.
  4. There's are nagging problems with the script, which feels like it has lost a few pages during its rewrites. Instead of an orderly, inexorable pressure of events, we get a surfeit of red herrings, followed by the rather uninteresting killer simply stepping out of hiding.
  5. It is hard to say what is more despicable about The Condemned: the overtly racist portrayal of Brekel-Goldman as Jewish-media bloodsuckers, or the film's sleazeball attempt to pass off lovingly attentive sequences of ritual torture - often scenes of incredible hulks bashing cowering women - as a critique of media violence.
  6. There are people who find treasures in celebrities' garbage cans so it's a reasonable gamble they might want to buy tickets to watch their throwaway home-movie projects as well.
  7. A hypnotic, black hole of a movie that sucks reputations, careers and goodwill down its vortex. Rarely has a movie that doesn't star Madonna achieved such a skin-crawling mixture of deluded preening and bungled humour.
  8. A painfully contrived romantic comedy/thriller that may (or may not) have brought Gerard Butler and Jennifer Aniston together as a real-life couple.
  9. Wisdom lies in taking a pass on Hall Pass, but bravery demands something else, something far more instructive: Watch it, every vacuous frame, if only to measure the precise aesthetic distance from blessing to curse.
  10. So what's Hanson exploring this time? His boring side, apparently.
  11. This one's just painful.
  12. In the life-is-too-short category, file Kangaroo Jack as a sub-Farrelly Brothers, dumb-plus-dumber buddy picture.
  13. Given Part II's quality, the final sequence, a series of clips from next summer's Part III, may be a major miscalculation. "To be concluded," reads the final title. Sounds more like a threat than a promise. [22 Nov 1989, p.C9]
    • The Globe and Mail (Toronto)
  14. No less laughable is the ending, where Ritchie neatly reflects today's prevailing attitude -- that audiences can't be trusted to handle a hint of ambiguity, but can live happily with flat-out stupidity.
  15. Apparently pitched somewhere between a farce and a fable, this flick is neither. Just foolish. And frustrating. And, mostly, damned annoying.
  16. At least Adams and Goode are always watchable, even when you occasionally feel embarrassed for them.
    • 22 Metascore
    • 25 Critic Score
    Lazy, perfunctory and free of tension, the new version will satisfy neither the admirers of the original nor anyone looking for a gory respite from seasonal good cheer.
    • 48 Metascore
    • 25 Critic Score
    The problem with Sucka is that the film is more clumsy and lifeless as a comedy than most of those blaxploitation pictures were as drama. Sucka instead is so awkward as to take two steps back for every one step forward: the film uses black women, for example, as rudely as did the movies it sends up. [17 Feb 1989, p.C3]
    • The Globe and Mail (Toronto)
  17. To be fair, the movie is nothing if not consistent -- the idea is every bit as dumb as the execution.
    • 36 Metascore
    • 25 Critic Score
    The sisterhood is already grumbling about a movie that suggests women will happily choose a mate over friendship, but actually it's the stereotypes of good behaviour rather than bad that bring this rom com crashing down.
  18. The flames sure look real, but everything else in Backdraft, director Ron Howard's inflatable ode to firefighters, seems about as genuine as a plastic log in an electric hearth. Howard's particular type of schmaltz works well enough in small dabs on comic canvases (Splash, Cocoon, even Parenthood), but pumped up to heroic proportions, the sentimentality is just plain silly - in this case, cheap melodrama on a two-hour jag.
  19. Remember that the director, the renowned Mike Mitchell, is the genius who helmed "Deuce Bigalow: Male Gigolo," and be sufficiently generous to accept that such a high level of excellence is hard to sustain.
  20. It's obvious now that the cinematic junk routinely released every Friday can be safely categorized as a mere failure. But this alleged comedy is a whole other species entirely. This is a bona fide, absolute, unmitigated fiasco.
  21. Not quite repellent enough to avoid tedium, Hannibal Rising is both too familiar in portraying Hannibal as a Dracula-like aristocrat monster, and crud in its exploitation of wartime atrocities.
  22. The film moves from cliché to cliché and hemorrhages blood and logic at an alarming rate.
  23. Being risibly bad, The Happening is at least worth a laugh. Exactly one laugh, by my reckoning, and completely unintended but no less full-throated for that.
    • 45 Metascore
    • 25 Critic Score
    The film is basically a compendium of possessed-child clichés.
  24. God forgive me, but I worship the Bad Dialogue Fairy -- he gets me through these endless nights.
  25. Torching “witches” is the one part of the story that has some historical basis, and adds an uncomfortable edge of misogyny to this otherwise empty fantasy.
  26. David Bowie, flaunting a Marianne Faithfull hairdo, stars in Jim Henson's latest puppety film, the flagrantly unoriginal Labyrinth. [1 Jul 1986, p.A1]
    • The Globe and Mail (Toronto)

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