The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,656 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 1.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Detective Dee and the Mystery of the Phantom Flame
Lowest review score: 0 Harlem Nights
Score distribution:
3,656 movie reviews
  1. 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.
  2. Film encyclopedias may beg to differ, the Cahiers du Cinéma might correct me, but, as far as your humble correspondent knows, Wanderlust is the first mainstream movie ever to star a Floppy Prosthetic Penis.
  3. For a comedy about the quest for inner peace, A Thousand Words reeks of desperation.
  4. Contrast this to "The Iron Lady," a film which managed to be both obnoxiously condescending and flattering to the divisive British leader Margaret Thatcher, and left those of all political stripes irritated. The Lady, devoid of either iron or irony, is merely forgettable, a much deeper insult to its subject.
    • 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.
  5. Will be construed by the faithful as an embarrassment of riches and by the rest of us as cruel and unusual punishment.
  6. It's a dumb-ass comedy done strictly for a seriously large paycheque.
    • 59 Metascore
    • 25 Critic Score
    So why are they divorcing, you ask. Who knows? Certainly not the creators of the very confused Celeste and Jesse Forever.
  7. 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.
    • 45 Metascore
    • 25 Critic Score
    The film is basically a compendium of possessed-child clichés.
    • 30 Metascore
    • 25 Critic Score
    Instead of playing the role in drag, the erstwhile Madea simply is a drag.
    • 34 Metascore
    • 25 Critic Score
    Means and ends meet briefly, shrug and disappear under a torrent of self-flattering clichés.
  8. Never one to shrink from the challenge of parodying the already parodic, along comes Marlon Wayans to do in A Haunted House what he once did in "Scary Movie." And do it much, much worse.
  9. The film can't be accused of taking itself seriously. Shot in 3-D, with lots of choppy action, a rudimentary plot, and plenty of CGI-shape-shifting, it comes in at a brisk, disposable 88 minutes.
  10. 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]
  11. Soderbergh has bathed the Depression in lovely, golden-brown hues - so lovely, so golden, that the flick seems to be unfolding from inside the delicious core of a burnished bran muffin. [20 August 1993]
  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]
  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]
  14. Unfortunately, it has the model of the 1939 film to remind us how lacking in delight this version is.
  15. Ronan, youthfully elegant as always, tries hard, but the material defeats her.
    • 55 Metascore
    • 25 Critic Score
    Star Trek III or The Search for Schlock: a mission that renders the eyelids heavy. What else can you say about a movie whose mechanically inept, gelatinous monsters out-act everyone on the screen and whose poignant moments are simply guffawful. Not to put too fine a Vulcan point on it, it was ba-a-a-d. [2 June 1984]
  16. Ready To Wear is certainly a disappointment, if not an outright flop. [27 Dec 1994]
    • 47 Metascore
    • 25 Critic Score
    How many Oscar winners does it take to save the world? Red 2 gathers together a collection of lauded thespians – from A(nthony Hopkins) to (Catherine) Z(eta-Jones) – and leaves them to float on a sea of action-flick clichés.
    • 34 Metascore
    • 25 Critic Score
    Only adults with 'Smurf-holm syndrome' could love this film.
    • 39 Metascore
    • 25 Critic Score
    Despite gorgeous visuals from an army of Disney animators, the film is one of the weakest the studio has produced in years and deserved a bargain-bin DVD release.
  17. Within this bloated fantasy hodgepodge, there are few grace notes: In the role of the creepy fortune teller, Madame Dorothea, CCH Pounder is evil fun. And a few special effects, including a Rottweiller who turns into a skinned hellhound, leave an impression. Otherwise, Mortal Instruments manages to occupy 130 minutes of frantic, numbing, activity.
    • 42 Metascore
    • 25 Critic Score
    There isn’t a single genuinely sharp sequence in the entire movie. The casting of Robert De Niro as an ex-Mafioso hiding in witness protection is witty in only the silliest, most superficial way. It’s a joke with its own tinny, built-in laugh track.
  18. Somewhere in literary afterlife, dear reader, Jane Austen has just rolled over and reached for her musket.
    • 54 Metascore
    • 25 Critic Score
    Johnny Knoxville is now 42, and he’s clearly torn. He still wants to be a Jackass, but in a movie with an actual story that offers something even slightly more substantive than cringing at other people’s self-inflicted pain and humiliation.
  19. Everyone in the movie, of course, is anxious to see these comeback seniors beat each other up, except, perhaps, the viewing audience.

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