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 Police, Adjective
Lowest review score: 0 Another 48 Hrs.
Score distribution:
3,928 movie reviews
    • 38 Metascore
    • 25 Critic Score
    Lame and disrespectful sequel.
  1. Damned if those dual spoilsports, the gladiatorial director Ridley Scott reteamed with his portly star Russell Crowe, haven't drained every drop of merriment right out of the myth.
    • 48 Metascore
    • 25 Critic Score
    How Besson drags this premise into 90 minutes of screen time should be of interest to the perverse among you – or anybody teaching a how-not-to-make-a-movie summer course.
  2. Fewer heads in the film and more evidence of one on the director's shoulders might have squeezed a legitimate laugh or two out of this contrived juvenile carnage.
  3. Brings on a wave of nostalgia accompanied, unfortunately, by a great big yawn that will surely be experienced by parents hoping for a spark of irreverence à la Pippi or the broad comic appeal found in most theatrical family fare these days.
  4. I think that the perfect name for the chick in a chick flick is Rebecca Bloomwood. I know that if Charles Dickens had possessed the good sense to write chick flicks, he could not have done better than Rebecca Bloomwood.
  5. Compared to Al Gore's new global-warming documentary, "An Inconvenient Truth," The Omen makes the Apocalypse look comforting and child-friendly.
  6. Using a kidnapping plot to call up some old-fashioned suspense, it doesn't even get a dial tone.
    • 25 Metascore
    • 25 Critic Score
    Mainly, you have to wonder why Allyson doesn’t just hire a nanny, find a job and get out of the house. Ah, but this is a Christian movie, and once it stops pelting an audience with comic incident, it begins preaching.
    • 32 Metascore
    • 25 Critic Score
    It is, from beginning to end, a paint-by-numbers movie. There's a mildly entertaining climax, but most of Showtime is a layering of tired pop-culture tropes by actors who are not especially interested in what they're doing.
  7. Whether madcap parody – the "American Psycho" of G-man flicks – or walk on the wild side of Lynch's obsessions, the film's a failure.
  8. Writer/director Gus Van Sant, who's built his reputation on the romantic decadence of "Drugstore Cowboy" and "My Own Private Idaho," completely misses the poetry and the irony of the book. [20 May 1994]
    • The Globe and Mail (Toronto)
  9. The movie pretty much blows.
  10. Ready To Wear is certainly a disappointment, if not an outright flop. [27 Dec 1994]
    • The Globe and Mail (Toronto)
  11. Unfortunately, nobody had the good sense to call the comedy authorities and shut this Zookeeper down.
  12. Meant to be a nodding aside to the film buff, with plenty of in-jokes for the cognoscenti, Crimewave ends up as a random list in dire need of a good file-clerk. [3 July 1987]
    • The Globe and Mail (Toronto)
    • 40 Metascore
    • 25 Critic Score
    Dumb, dumber, dumbest.
  13. Like Jerry Springer, it's loaded with class bias, offering a condescending fantasy that sees the poor as exotically grotesque, promiscuous, violent, and spiritually doomed. [17 Oct. 1997, p.D9]
    • The Globe and Mail (Toronto)
  14. The film suffers from a syndrome I'll call the Pop Princess's New Clothes. Hilary can't really sing, and neither can Terri, so you can't help but wonder, what's the big whoop?
  15. Gomez, who turns 20 next year, looks much younger than her age and has the thankless task of playing three roles...It feels like a struggle and the screenplay doesn't help.
  16. Everything about Are You Here feels like a bottom-drawer script idea that was put together too casually and carelessly.
  17. It's outstandingly obnoxious.
    • 53 Metascore
    • 25 Critic Score
    Unfortunately, Hysteria is much closer in its effects to a more significant and much larger 19th-century invention. Like the locomotive, this costume drama proceeds noisily and methodically toward a destination that is agreed upon from the outset. Good orgasms and good movies generally offer surprises; good trains do not.
  18. Listlessly directed by Julie Anne Robinson (Miley Cyrus's The Last Song) from a script written by a trio of writers (Stacy Sherman, Karen Ray and Liz Brixius), One for the Money is tepidly glib throughout.
    • 34 Metascore
    • 25 Critic Score
    Only adults with 'Smurf-holm syndrome' could love this film.
  19. Frankly, about 20 minutes into this dud, I was rooting for the alien beasties -- their diagnosis seemed dead-on.
    • 60 Metascore
    • 25 Critic Score
    And yes, the super effects are fantastic. But overall, Ra.One fails to impress.
  20. Essentially a slapstick movie with no plot or -- as my boyfriend called it after recovering from 1½ hours of side-splitting laughter -- "the ultimate big-screen TV experience."
  21. Every character is like the hyperactive rat-squirrel Scrat, and the audience is bounced around like his elusive acorn.
  22. 2 Days in New York plays like 2 years in Attica. You don't watch this movie so much as serve it out, a light comedy doled out as a heavy sentence.

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