The Globe and Mail (Toronto)'s Scores

For 4,417 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Fire at Sea
Lowest review score: 0 People Like Us
Score distribution:
4417 movie reviews
  1. The result is a curious mix - a picture that simultaneously seems meanderingly loose, affording the cast plenty of performing space, and suffocatingly tight, choking off the audience from any interpretive engagement.
    • 41 Metascore
    • 38 Critic Score
    With its latest, The Quiet Ones, the company continues a tired trend, choosing the trite over the terrifying. The stale tone is struck from the outset with four simple words: “Inspired by actual events.”
    • 39 Metascore
    • 38 Critic Score
    A few striking images keep our attention – like evil warrior Rain (Michelle Rodriguez) seated menacingly with an assault rifle on a playground swing in the 'burbs. But the film's title promises payback, without offering ample compensation.
  2. Meant to explore anger, all this picture does is manufacture it.
  3. It is a disappointment - just intermittently engaging, and lacking the cohesion of his best efforts, it seems less a fully realized feature than a film-school foible. [30 Aug 1996]
    • The Globe and Mail (Toronto)
  4. The result is a small independent film suffering from a severe case of Hollywood-itis. A cautionary tale minus the caution, Just a Kiss is just a cop-out.
  5. The most disturbing aspect of Cold Creek Manor -- a predictable, disjointed "Cape Fear" knockoff -- is that a script this disjointed and unoriginal could actually get the Hollywood green light.
    • 25 Metascore
    • 38 Critic Score
    The film's putrid sexism is subverted in a series of sharp and funny scenes that at least raise Sorority Boys to the level of "American Pie."
  6. Pretty much everything about Rings is incoherent. And the most incoherent thing of all is the film’s arrival a decade and a half after Verbinski’s original remake (if such a term even makes sense).
    • 34 Metascore
    • 38 Critic Score
    The narrative is schlocky and groaningly over-familiar, but the film is also uncharacteristically drab visually, with a washed-out colour palette and anemic pacing.
    • 48 Metascore
    • 38 Critic Score
    By throwing herself headfirst into scenes that a more cautious actress might beg off, Green earns herself a citation for valour – a Purple Heart in a movie that’s otherwise way too grim and grey for its own good.
  7. Who wants to watch any film where Sarandon, the sexiest 60-year-old woman alive, is first prize in a corn-eating contest?
  8. Refn’s expectation-defying choice is laudable in theory, but Only God Forgives is a pretty awful drama.
    • 41 Metascore
    • 38 Critic Score
    It is all so intentionally ridiculous that it gets boring, and you just wait for the next big cornball revelation to momentarily jolt you awake, like Sofia Vergara strapping on her machine-gun bra, or Lady Gaga’s appearance as a hit woman. Machete kills, sure. Unfortunately, he overkills.
  9. The movie's dated, stereotypical comedy often contradicts its wholesome intentions, coming across as laboriously cutesy and occasionally perverse.
  10. Don't mean to boast, but I can suspend my disbelief as willingly as any credulous moviegoer. Yet not even an industrial crane would have helped here.
  11. The lower orders seem to have been left out of The Lost City -- there just aren't any poor characters -- which for a movie about a workers' revolution seems downright slipshod.
  12. Steers can compose and capture a shot fine enough, but seems otherwise bored to be here. Each of his scenes collide lazily against the next; transitions are rushed and often ugly, and the director never seems to know what emotions he should be steering his cast toward.
    • 26 Metascore
    • 38 Critic Score
    The storyline is a sinkhole that swallows up any sense and suspense.
  13. A Michael Bay-branded time-travel fiasco, made for teens and seemingly by them, too.
  14. All the borderline pantomime acting and wigged buffoonery is deliberate and silly, but The Three Musketeers remains charmless, a romp brought down by its lead-footed script.
  15. Zoolander 2 feels like a hasty collection of last-minute comedy panic attacks.
  16. A twisted, but not particularly clever, black comedy.
  17. With its stilted dialogue, fragments of voice-over and over-busy camera, Red Riding Hood feels off-kilter from the start.
  18. Definition of redundant: A formulaic Hollywood pic that calls itself Déjà Vu.
  19. Scott means for his entertainment package to be hip, hysterical fun. But his stylistic embellishments and indiscriminate appetite for sensation crowds his title character right out of the film.
  20. Despite being set in 1958 Cuba, Havana Nights sticks to the formula. This would be perfectly acceptable if the dancing was "dirtier" and if there was a spark between the young couple.
    • 50 Metascore
    • 38 Critic Score
    Kinnaman, a Swede, is good in small doses – say, as Mireille Enos’s sidekick in the TV series The Killing – but he’s no leading man. He gives us zero insight into Elliot, so he never makes us care about him. This film will be remembered (if at all) as one of the things Holland did before he was Spider-Man.
  21. There are a few laughs at the start of This Is the End, and a couple more at the end of This is the End. As for the endless middle, it’s middling.
  22. The director’s pedestrian tactics are most evident in his command, or lack thereof, over his cast. While Parker knows how to expertly play to the camera – he all but winks at the audience, so confident is he in his admittedly captivating lead performance – he abandons his fellow actors, allowing them to exploit their worst instincts: hammy accents, wild gesticulating, uneasy line readings.

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