The Globe and Mail (Toronto)'s Scores

For 3,936 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Player
Lowest review score: 0 Far and Away
Score distribution:
3,936 movie reviews
  1. Just my luck that I saw the trailer for the film several times and already knew all of this, which made the long-form version of the movie redundant.
  2. Call me Grumpy, but this seems less an adaptation than a random assault.
  3. 300
    As you watch -- no, endure -- this flattened-out spectacle, there's really nothing worth pondering save for a single thought: What a difference a director makes.
  4. A vigorously cross-marketed product, with comics, collectable cards, games and a television series.
    • 37 Metascore
    • 38 Critic Score
    Ye gods, there's a lot of hacking and many seismic eruptions in The Wrath of the Titans, the latest 3-D action film that treats the Greek gods as action figures.
    • 49 Metascore
    • 38 Critic Score
    The director's approach is far too ham-fisted and erratic to bring Four Brothers up to the level of enjoyable trash -- it's too crummy to earn that distinction.
  5. The plot's not so hot -- it feels like it was jotted down by someone on an after-dinner napkin.
  6. The problem with the taboo-busters is that they feel calculated - in the past, Lynch's creepiness seemed casual and natural - and they take Wild at Heart so high it can't come down; the picture repeatedly jacks itself into frenzy only to crash into lethargy.
  7. With some movies, though, it's just the opposite. Like this one. It's a whole lot easier to forget than to forgive.
  8. Beerfest is safety-by-numbers comedy. A troupe, as opposed to a single comic star like Adam Sandler, shares the comic load and, well, at least the film is funnier than "Click."
  9. You might believe that a movie comedy requires no visual rhythm, and that entire scenes -- especially those big set-pieces -- benefit greatly from a shooting style devoid of imagination and unremittingly flat. If so, A Guy Thing is surely your thing. Enjoy.
  10. In its nearly two-hour running time, in its always lugubrious pace, in its almost complete absence of laughs, The Prince & Me is a comedy that plays like a tragedy. No stricken bodies, though, unless you count the ones in the audience slumped back in their seats -- perchance they slept.
  11. An overemphatic revenge fantasy devoid of even a trace of excitement or wit.
  12. To divulge the plot would spoil the experience -- you'll be shocked to discover, and maybe even surprised to learn, just how lame the damn thing really is.
    • 16 Metascore
    • 38 Critic Score
    There is, admittedly, something splendidly subversive about putting the movie's arch-villains into a children's theme park - the ultimate symbol of both apple-pie family values and the whole U.S. entertainment industry. There are no real worms in this apple, however; like most flicks conceived as marketing vehicles, it's hollow at the core. [27 May 1994, p.D3]
    • The Globe and Mail (Toronto)
  13. Serving Sara, which often feels more like serving time, is one of those tortured Hollywood romantic comedies that starts with a passable premise and turns into an inventory of flat gags and weak lines set against a travelogue backdrop.
  14. Air America, starring Mel Gibson's big blue eyes and Robert Downey, Jr.'s big brown biceps, is bland and toothless. [15 Aug 1990]
    • The Globe and Mail (Toronto)
  15. You leave Stolen Summer with the feeling that you have watched acrobats stumble on a tightrope with no net below. Not a great show, but at least nobody got badly hurt.
  16. Call it Nancy Drew and the Case of the Confused Adaptation.
  17. There's not a scrap of imagination in the script.
    • 31 Metascore
    • 38 Critic Score
    While the monster Wilde is scary enough, the directing and writing is lazy, relying on “boo!” tactics and insinuating a religious subtext by cutting to close-ups of crucifix jewellery. The ending is slapdash.
  18. Talky, crude and sexist, Mallrats is significantly less funny, a flatulent sequel to the director's small start.
  19. A semi-intriguing abomination, the movie The Cat in the Hat takes a piece of classic childhood Americana and turns it into something garish, dumb, ugly and senseless.
  20. Feels like a five-year-old with a megaphone, excitedly yelling about his latest bulldozer-soldier-dinosaur smash-kill-squash-everything game.
  21. Kubrick certainly doesn't fail small. One could fast forget The Shining as an overreaching, multi-levelled botch were it not for Jack Nicholson. Nicholson, one of the few actors capable of getting the audience to love him no matter what he does, is an ideal vehicle for Kubrick. [14 Jun 1980, p.E1]
    • The Globe and Mail (Toronto)
  22. Is Kazaam racist? In effect, yes. But it'sracism linked to bad marketing: You can't really mix a black-pride rap film with a revamped version of "Free Willie" and expect them to magically jibe.
  23. Falls somewhere on that aesthetic scale between mediocre and flat-out bad.
    • 47 Metascore
    • 38 Critic Score
    What's amazing is how far McConaughey carries this nonsense despite his total lack of chemistry with Parker and almost Zen-like indifference to his circumstances.
  24. Riding that fine line between misjudged and deliberately anti-p.c., Get Hard is lewd, crude and rude but, despite its disastrous reception at SxSW, not entirely unfunny.
  25. While this may all sound seductively warped to those who enjoy movies featuring sexually deviant confinement and torture, blasphemous rants and rampaging rednecks, The Devil's Rejects does not live up to its sick, twisted and campy intentions. "Straw Dogs" meets "Smokey And The Bandit" for the new millennium it ain't.

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