The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,860 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: 60
Highest review score: 100 Alien (re-release)
Lowest review score: 0 Wild Hogs
Score distribution:
3,860 movie reviews
  1. 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.
  2. A flawed fraud, a youth movie so disjointed, witless and condescending that it's painful to watch.
  3. The incomprehensible leads to the inexplicable which ends in the indecipherable.
  4. 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.
  5. 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.
  6. Watching inept American actors and wishing they were badly dubbed into Japanese isn't any fun at all.
  7. 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.
  8. Mind-numbing, soul-testing, character-defiling experience that offers not one nanosecond of comic relief.
  9. There's nothing even mildly intriguing, or remotely galvanizing, about Showgirls.
  10. Rarely does a film so graceless and devoid of merit as this one come along.
  11. 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.
    • 37 Metascore
    • 0 Critic Score
    The plot is as incomprehensible as the dubbing and many of the special effects are neither special nor effective.
  12. Just how dumb is Senseless? So dumb it even takes the fun out of stupid.
  13. Brain-melting, head-spinning rank toxicity that shows no evidence of intelligence as we know it.
    • 36 Metascore
    • 0 Critic Score
    Simply put, this is a bad, bad film, this summer's answer to last summer's "The League of Extraordinary Gentleman." A dog for the dog days of summer.
  14. Campy costumes can't disguise the incoherent plot, confused performances and lame script that send this star vehicle spiralling downward.
  15. Just as the book is usually better than the film, one suspects the video game is probably more entertaining and coherent than the movie. In the case of Alone in the Dark, this is a certainty.
  16. A sustained if wildly uncoordinated assault on our senses, complementing those feverish jump cuts with a cliché of equally stunning proportions
  17. Shamelessly cross-promotional "extreme" sports flick.
  18. Date Movie is a good date movie in one sense: If you're still speaking to the person who brought you to see this, you just might have a future together.
    • 36 Metascore
    • 0 Critic Score
    How bad does a film have to be to get the death doughnut? Disgracefully bad.
  19. A 0-star Comedy that is nonetheless guaranteed to rake in multimillions.
  20. Director Marshall ( Pretty Woman) has created a comic drama so confused in tone, the actors often seem to be acting in different movies.
  21. It's just a shrunken case of large-screen aspirations wedded to a small-screen mentality. [22 May 1992]
    • The Globe and Mail (Toronto)
  22. The first 48 HRS. was similiarly nasty and violent, and it too was emptier than the inside of an efficient bell jar, but it was funny. Eight years later, director Walter Hill can find nothing to laugh about - the violence in this appalling picture is played out in a mirthlessly misanthropic vacuum. [8 Jun 1990, p.C1]
    • The Globe and Mail (Toronto)
  23. In past celluloid lives Eddie Murphy has been responsible for a handful of the most popular movies ever made, which explains why he has been able to bring Coming to America to your neighborhood theatre with its misogyny, technical ineptitude and witlessness intact.
    • The Globe and Mail (Toronto)
  24. There is no reality here, and no style: Cocktail waters down the philosophy of Dr. Norman Vincent Peale and serves it in a shot glass to hustlers. High school hustlers. [29 Jul 1988, p.C11]
    • The Globe and Mail (Toronto)
    • 16 Metascore
    • 0 Critic Score
    As it stands, Murphy has put his idols and friends in front of a camera, given them a watered down version of The Sting and hoped they'd make the best of it. They don't. [23 Nov 1989, p.C12]
    • The Globe and Mail (Toronto)
  25. Despite an inspired central section involving Robin Williams as the King of the Moon and Valentina Cortese as his Queen, The Adventures of Baron Munchausen is a near-disaster of Ishtarish proportions. [11 Mar 1989, p.C3]
    • The Globe and Mail (Toronto)
  26. About as much fun as being given a wedgie and hung from the camp flagpole, Daddy Day Camp is an unnecessary sequel.

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