The Globe and Mail (Toronto)'s Scores

For 4,503 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Timbuktu
Lowest review score: 0 Employee of the Month
Score distribution:
4503 movie reviews
  1. A lamentably slack and dishonest genre exercise.
  2. It wants to make an important political statement, which might have been dandy if it had anything remotely cogent to say.
  3. About the only fun to be had in the movie is screenwriter Alan McElroy's cartoon spook-speak.
  4. Virtue aside, however, Red Tails is a lousy film. Not wincingly bad, mind you, just mediocre.
  5. If anybody should know how to make a good Lubitsch farce, it’s Bogdanovich. Luckily, he already has: You should just watch his classic What’s Up, Doc? instead.
  6. A lightweight flick about a heavy-duty subject, A Dark Truth plays like a TV movie back in the days when TV wasn't worth watching.
  7. All of this is interesting, but not all that entertaining.
  8. Very little of it works.
  9. Valuable life lessons always come at a steep price, and this one is no exception. Sorry, but you'll have to shell out for The Divide and then suffer through its nearly two hours of bloody inanities. Weigh the balance, make your choice.
  10. [Law] talks straight to the camera like the young Michael Caine, but this time our hunk has got zilch to say. That's because a bastard's candour is off-limits in today's politically correct market — it just wouldn't be polite.
  11. Pretty much what you'd expect -- just another haunted house that happens to float.
  12. Although it’s a kick to see the rough conditions and the full-on roughhousing of old-world golf, the scenes on the links are repetitive. And while the ending takes a severe dogleg turn to soft-focus sentimentality and the soundtrack hounds us to take this thing seriously, the movie is easily resistible.
    • 61 Metascore
    • 38 Critic Score
    One of Blomkamp’s most unlikely conceits is a machine – apparently standard-issue in all of Elysium’s made-to-order McMansions – that can heal all injuries and infections at the flick of a switch. He could have used one to fix Elysium’s battered and broken screenplay.
  13. By then, the lofty ambitions can't disguise the sad reality - it's long, it's cluttered, and it's trite.
  14. What we have here is a romp, a funny romp at times, with a clear satiric intent and the expected quota of outrageous style - likable enough, yes, but a rather flimsy thing, a zany fest with its mind on cruise control. [17 June 1994]
    • The Globe and Mail (Toronto)
    • 54 Metascore
    • 38 Critic Score
    Anyone who has seen "Dream Girls," "What's Love Got To Do With It?" or even "The Doors" will find themselves in familiar (if inferior) territory here.
  15. Before immediately handing the movie an F and sending it off to summer school, give the filmmakers, and especially co-star Jason Schwartzman, credit for their anarchic willingness to try anything to shock a laugh loose from an audience.
  16. Your mission, should you choose to accept it, is to make heads or tails of this Byzantine thing. [22 May 1996]
    • The Globe and Mail (Toronto)
  17. Both cautionary and comforting (yes, some kids today prefer conversation to cybersexting), Men, Women & Children is as anxious to seem contemporary as any after-school special.
    • 39 Metascore
    • 38 Critic Score
    Dark Places lacks the gloomy meditative quality that Gone Girl rode to success on, with none of the grace or subtlety necessary in making a convoluted thriller a watchable enterprise.
  18. After a while, it begins to feel like a confused comedy: How to explain to the neighbours that your dead husband has moved back home?
  19. Over on the aliens side, it's hard to make out faces, but there's no doubt about their place of origin: These slimy, growling, bug-eyed and distinctly non-scary things are straight from central casting.
  20. The problems with First Sunday extend well beyond the hokey premise and predictable performances to the fundamentals of script, direction and tone.
  21. The chipper tale is admittedly interesting, though not “fascinating,” as self-advertised.
  22. There remains a nasty whiff here of a movie that is trotting out lesbian love interests and clawing cat fights for male titillation. With fashion taking the place of ballet, The Neon Demon may well prove controversial in a "Black Swan" kind of way, offering a love-it-or-hate-it debate over the appeal of its melodrama versus the politics of its social critique.
  23. Clint has a script. Actually, Clint has too much script, one of those schematic by-the-number jobs that telegraphs its every pitch.
  24. Every time you think you grasp the concept, another layer of outlandish supernatural gobbledygook is laid on top, leaving the viewer feeling as spun-out as Linda Blair's head.
    • 35 Metascore
    • 38 Critic Score
    While the movie and the accompanying series are being pitched to a younger audience than most new Star Wars ventures, parents may be perturbed by the film's relentless violence.
  25. The net result is a few shaky laughs and one unwavering sensation -- that The Terminal is interminable.
  26. Winkler is a singularly boring director, forever telegraphing his scenes by tracking the camera behind a rustling bush or pulling the lens up close on his villain's eyes or gun. As a result, the film feels enervated and predictable when it should be energetic and surprising. It's a testimony to the abilities of the perky Bullock that she's entirely believable, but even she can't paper over the movie's many holes of logic. [28 July 1995]
    • The Globe and Mail (Toronto)

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