The Globe and Mail (Toronto)'s Scores

For 4,014 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 China Heavyweight
Lowest review score: 0 Employee of the Month
Score distribution:
4,014 movie reviews
  1. 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)
  2. 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.
  3. 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."
    • 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.
  4. Who wants to watch any film where Sarandon, the sexiest 60-year-old woman alive, is first prize in a corn-eating contest?
  5. 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.
  6. The movie's dated, stereotypical comedy often contradicts its wholesome intentions, coming across as laboriously cutesy and occasionally perverse.
  7. 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.
  8. 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.
    • 26 Metascore
    • 38 Critic Score
    The storyline is a sinkhole that swallows up any sense and suspense.
  9. A Michael Bay-branded time-travel fiasco, made for teens and seemingly by them, too.
  10. 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.
  11. A twisted, but not particularly clever, black comedy.
  12. With its stilted dialogue, fragments of voice-over and over-busy camera, Red Riding Hood feels off-kilter from the start.
  13. Definition of redundant: A formulaic Hollywood pic that calls itself Déjà Vu.
  14. 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.
  15. 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.
  16. 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.
    • 35 Metascore
    • 38 Critic Score
    Though a few scenes drum up some intensity -- that green ham Gustave makes one last great appearance -- it's mostly grim, dull and ugly, three qualities that nobody wants in a piece of multiplex filler about a surly reptile.
  17. This hunk of celluloid flotsam will come back sooner rather than later, washed up on the remote shelves of your local video store. My advice: shred the message, recycle the bottle.
  18. Some of the most memorable performances from great actors are also their worst: Add to that list Anthony Hopkins's turn as a sinister old Jesuit.
  19. After six years in development, this comedy starring and produced by Adam Sandler feels as slapped together one of the comedian's live-action buddy movies.
  20. The whole d--- thing can be summed up in three little words: yo ho hum.
  21. The United States of Leland has a resonance of "Elephant" without the visual poetry or structural sophistication, or "American Beauty" without the leavening comedy, but it's neither an insightful nor well-made film.
  22. Apparently, somebody thought it was time for a remake. Clearly, somebody was dead wrong.
  23. In the right hands, Good Boy! might have been a ripe bit of mischief. But except for an endless drum roll of fart jokes, what we get is stuffy liberal humanism that would bore the Oshkoshes off Al Gore's littlest nieces and nephews.
  24. By comparison to this effort, "Pineapple Express" seems like a model of thoughtful maturity.

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