The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,775 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 A Prophet
Lowest review score: 0 Boxing Helena
Score distribution:
3,775 movie reviews
  1. What ends up on screen is confused storytelling that tries to solve too many social and family problems, sends mixed messages and, even worse, makes you laugh during parts when it's trying to be dead serious.
  2. It makes "Little Man," "Scary Movie 3" and "Beerfest" look like comic masterpieces.
  3. Mary Reilly comes across as too much brooding atmosphere and too little story. [23 Feb 1996]
    • The Globe and Mail (Toronto)
  4. The film is significantly inept even when Crawford is not on the screen. [03 Nov 1995]
    • The Globe and Mail (Toronto)
  5. It's not a bomb at all. A dud is more like it - Last Action Hero isn't interesting enough to be explosively bad. For all the inflated pyrotechnics on the screen, the picture seems consistently grey and almost pitiably small. [18 Jun 1993, p.D1]
    • The Globe and Mail (Toronto)
    • 14 Metascore
    • 12 Critic Score
    Despite the talents involved, including Steve Martin and director and co-writer Nora Ephron, the result is a messy, almost desperately mirthless thing Mixed Nuts an empty shell. [23 Dec 1994, p.C6]
    • The Globe and Mail (Toronto)
  6. Consequently, as star vehicles go, Ford Fairlane runs straight over the very guy it's meant to transport. Some will see that as the movie's greatest fault, others as its only virtue. Take your pick, and come out swinging. [13 Jul 1990, p.C1]
    • The Globe and Mail (Toronto)
  7. The manner in which the writer, Richard Matheson, and Jeannot Szwarc, in his glory days the director of Jaws II, conspire to tell the story should not only render the audience tearless, but speechless as well. [11 Oct 1980, p.E7]
    • The Globe and Mail (Toronto)
  8. At the end of The Comebacks, Coach is offered job with a college basketball team called The Sequels - a joke perhaps, but all too horrifying a prospect after watching this dull fumble.
  9. But the best, most irrefutable reason why Sex and the City 2 deserves one-half a shining star. It’s worse than Sex and the City 1, and that alone is a remarkable achievement.
    • 22 Metascore
    • 12 Critic Score
    New Year's Eve. It's big and shiny and crowded and no matter how much you might look forward to it, it never lives up to the hype. The movie is even worse.
  10. An actual film of unrelenting silliness. Far from being a "miracle of rare device" (yes, the movie even quotes Coleridge), this is a disaster of common occurrence - a poorly directed, ineptly edited, badly photographed bundle of celluloid. [14 Aug 1980]
    • The Globe and Mail (Toronto)
  11. This one is a big, big disappointment. [27 July 1987]
    • The Globe and Mail (Toronto)
  12. The Keep has opened just in time - if it had waited another couple of weeks, it would have been the worst horror movie of 1984 and there wouldn't have been anything to look forward to all year. [17 Dec 1983]
    • The Globe and Mail (Toronto)
    • 51 Metascore
    • 12 Critic Score
    The scenes of Traynor threatening and battering his wife feel just as phony and unconvincing as the sunnier stuff that preceded them, partly because Sarsgaard – usually a fine and subtle actor – flies so over the top in his depiction of a creepy Svengali.
    • 41 Metascore
    • 12 Critic Score
    Arriving at the tail end of blockbuster season, this cheaply produced sequel to the surprise 2011 hit arrives in plenty of time to claim the title of the year’s most unpleasant movie.
  13. You will die at the hands of Zed's unborn son. Shucks, those wicked witches sure had a way of taking the fun out of life. Luckily for scheming kings, sadly for blameless movie-goers, such party-pooping prophecies are now mainly confined to formulaic flicks like The Beastmaster. [23 Aug 1982]
    • The Globe and Mail (Toronto)
    • 36 Metascore
    • 12 Critic Score
    The most important question is one that should be answered before setting foot in the theatre, and it is this: How badly do you want to see Cameron Diaz’s butt? If your answer is so very badly, or even pretty darn bad, then by all means, buy a ticket.
  14. A sweet and sloppy jumble of fantasy, sentimentality, comedy and soul-searching that feels like a sitcom that never got past the pilot stage.
  15. Calls itself a movie. It has words and pictures like a movie, and will appear in theatres like a movie, and will damn sure charge admission like a movie. But, truth be told, that's pretty much where the resemblance stops.
  16. A flawed fraud, a youth movie so disjointed, witless and condescending that it's painful to watch.
  17. The incomprehensible leads to the inexplicable which ends in the indecipherable.
  18. The whole mess turns nuttier by the second. A black comedy, you ask? I wish. There are plenty of laughs here, but nary a one is intentional.
  19. A perverse, lame-brained thriller that is pornographic, misogynist and homophobic. If that makes it sound appealing, I should also add that it's silly, boring and intellectually insulting.
  20. Watching inept American actors and wishing they were badly dubbed into Japanese isn't any fun at all.
  21. A two- hour-plus surrealistic bummer - it makes the audience feel as if it is coming down from a virulent drug. (The pacing, the images, the music and the endemic menace recall clinical descriptions of cocaine-induced paranoia.)...A disgusting, misanthropic movie.
  22. Mind-numbing, soul-testing, character-defiling experience that offers not one nanosecond of comic relief.
  23. There's nothing even mildly intriguing, or remotely galvanizing, about Showgirls.
  24. Rarely does a film so graceless and devoid of merit as this one come along.
  25. The product of a first-time director and writers who have no sense of scene structure or shape, or even a discernible sense of humour.

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