The Globe and Mail (Toronto)'s Scores

For 4,475 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% 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 Goodfellas
Lowest review score: 0 Passengers
Score distribution:
4475 movie reviews
  1. It's difficult to say who is more misguided here: the men (director, screenwriter and producer) who made the movie, or the women who signed on to play the parts.
  2. There are two movies in Superman III, one a witless and obvious and often cruel comic strip, the other a blithe and subtle and often amusing exercise in middle-brow camp. Not only do the two halves never come together, they are in active opposition. [17 June 1983]
    • The Globe and Mail (Toronto)
  3. Beyond the Reach, adapted from the same Robb White Deathwatch novel that spawned the 1974 Andy Griffith-starring television movie "Savages," is a deadly, desert-set game of cat and mouse that is tired and beyond plausibility.
    • 24 Metascore
    • 38 Critic Score
    Here's a movie that tries to be a video game but is less entertaining than a vending machine.
    • 36 Metascore
    • 38 Critic Score
    The monster isn't very interesting (or scary) to look at: he's just an oily, overgrown gremlin.
  4. A plot so preposterous it could only have emerged from the underground comic world.
  5. The manipulative Star Wars-style score is the only novelty on tap in Silverado, which has a plot too drearily complicated and arid to summarize and an attitude almost unbearable in its dryly smirky assurance that it knows what you want from a Western, which is to say, action that never quits, emotion that's never felt, characters that are never real and situations that are never sensible. [10 Jul 1985, p.S7]
    • The Globe and Mail (Toronto)
  6. The film preaches the gospel of unpredictable change, of ironic metamorphosis, of a psychological ebb and flow from love to lust, hope to despair, good to evil. But if the message is fluid, the medium is static at best and chaotic at worst - there's very little controlled motion in this picture. [19 June 1992]
    • The Globe and Mail (Toronto)
  7. Why bother suffering through 90 minutes of bad company for a few moments of holiday cheer? Especially when you can still stay home alone and watch "A Charlie Brown Christmas" somewhere on TV.
  8. Stallone's sequel has almost nothing to do with the original film except that it's about dancing; otherwise, it's Rocky IV with legwarmers. [16 Jul 1983]
    • The Globe and Mail (Toronto)
  9. They are singing the jingle in the bath, in bed, in the car, ready to send you, like George, smack into a tree.
  10. As for the old and graceful Jackie, he's completely missing in action, his supple talents sacrificed on the high altar of movie technology -- that frenetic place where superheroes are a colossal bore and real ones are sadly impotent.
  11. On the whole, the film is content to lumber awkwardly between the condemned man on death row and the intrepid reporter on his save-a-life beat -- there's about as much rhythm in the style as there is sense in the plot.
  12. Dragonfly has more plot than a figure-skating competition, and just about as much credibility.
  13. To report that Always will make you cry is not esthetically saying much; slicing up onions has the same effect. Leslie Halliwell's one-word summation of the forties version applies to Spielberg's update for the nineties: "icky." [26 Dec. 1989]
    • The Globe and Mail (Toronto)
  14. W.E. is a heavily made-up face masquerading as a movie and demanding to be admired – demands that might just leave you with an acute pain in the other end.
  15. The cast is equally strong (especially McDonnell), but the vast subject and the shifting settings force Kasdan all over the map. [10 Jan 1992]
    • The Globe and Mail (Toronto)
  16. The countdown begins with the first negative integer — an amped-up score that overpowers the proceedings like a bad band at a high-school dance.
  17. Another Nicholas Sparks novel, another cinematic brush with insulin shock.
  18. Too much chatting, not enough chills.
    • 57 Metascore
    • 38 Critic Score
    The dialogue is sour, the politics problematic (Broadway veterans as Afghan locals? Why not?!), and the sentiments sometimes eye-rolling. Whiskey Tango Foxtrot, indeed.
  19. As for Keitel, he pops up in a brief cameo as a housing contractor, with a dump-truck full of sand, the one that De Niro is standing right behind. The pair engage in a heated argument, as they once did so memorably those many years ago, and then the truck dumps that load exactly where you know it must. An esteemed actor gets buried but, what-the-fock, the franchise laughs on.
  20. The devil is back in Exorcist: The Beginning, and he is more disgusting than ever. Not more scary, just really yucky, in a kind of maggots-on-a-pizza-slice way.
    • 36 Metascore
    • 38 Critic Score
    It’s dreadfully boring to anyone over the age of 4, but at least it isn’t trying to sell kids anything. I guess that’s a plus.
  21. A cinematic homage as flawed as its subject. Flawed, yet with a peculiar fascination of its own -- what we have is a genuine artist paying sincere tribute to an unapologetic mediocrity, and stooping awkwardly to the task.
  22. Admittedly, it's been a long time since Kelly McGillis was being hyped as "the next Grace Kelly." But of all the films in all the world for whom the former Top Gun lust object could have done a walk-on, this lacklustre haunted-house feature is the one she chooses?
  23. None of this is funny enough to justify stealing 90 minutes of your viewing time.
  24. An underdog's breakfast of a movie, with some quite funny characters and set pieces mixed with some excruciating "moral lessons," but at least it moves along at a brisk pace.
    • 35 Metascore
    • 38 Critic Score
    Cranked up at double speed, the plot of Flashdance could almost be a satirical fantasy about dance students. Although Flashdance doesn't admit it's a fantasy, neither does it succeed in looking realistic. [16 Apr 1983, p.E5]
    • The Globe and Mail (Toronto)
  25. Bad Teacher should be a hoot. But it isn't. Love the theory here, hate the practice.

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