The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,840 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Revanche
Lowest review score: 0 Far and Away
Score distribution:
3,840 movie reviews
  1. 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.
  2. 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.
  3. 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?
  4. Call me Grumpy, but this seems less an adaptation than a random assault.
    • 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.
  5. Another Nicholas Sparks novel, another cinematic brush with insulin shock.
  6. The film sputters and stalls and winds up behaving like the worst sort of oldster – passing gas and pretending to be deep.
  7. Try not to be in the same room as Jesus Henry Christ. At the very least run when the first fire alarm sounds.
  8. The biggest high comes from the images evoked by the title alone, or the title in tandem with the movie poster, doesn't it?
  9. Dance gets political in Step Up Revolution, the fourth installation of the popular movie franchise, which delivers plenty of spectacular fancy footwork in what is otherwise a flat-footed fantasy.
    • 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.
    • 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.
  10. Clint has a script. Actually, Clint has too much script, one of those schematic by-the-number jobs that telegraphs its every pitch.
  11. 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.
  12. The filmmakers have altered the premise from the unlikely to the ridiculous.
  13. 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.
  14. It’s hard to argue with the title here – Safe Haven, indeed. This is all about safety in the Hollywood workplace. Why make a movie when making a Hallmark-card-with-dialogue is so much less risky?
    • 50 Metascore
    • 38 Critic Score
    The characters are reluctant to believe in the face of overwhelming evidence, mostly because writer-director Scott Stewart doesn’t want to play his hand too early. By the time the movie is over, it’s easy to see why he kept his cards close to his chest. He’s not really holding anything.
  15. 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)
  16. Feels like a five-year-old with a megaphone, excitedly yelling about his latest bulldozer-soldier-dinosaur smash-kill-squash-everything game.
    • 55 Metascore
    • 38 Critic Score
    All the special effects in the universe don't make up for a lame plot, though. There's something foul about a Star Trek movie so apparently slapdash: the creators know that legions of fans will show up, no matter what. [18 Nov. 1994]
    • The Globe and Mail (Toronto)
  17. It's unclear as to how we are supposed to feel about these monologuists, the majority of whom are twentysomething; nothing is how I felt about them, but perhaps I was tired. [27 Sept. 1991]
    • The Globe and Mail (Toronto)
  18. 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)
    • 34 Metascore
    • 38 Critic Score
    Erased, I predict, is a word that will be used to describe what happens to your memory of this cloned facsimile of a movie immediately after watching it.
  19. 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)
  20. 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.
    • 57 Metascore
    • 38 Critic Score
    The heroic irony that was hilarious in Raiders is merely ridiculous here, and the half-tribute/half-parody of the adventure genre is toyed with to threadbare extremes. [23 May 1984]
    • The Globe and Mail (Toronto)
  21. Refn’s expectation-defying choice is laudable in theory, but Only God Forgives is a pretty awful drama.
    • 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.
    • 53 Metascore
    • 38 Critic Score
    Where Corneau flirted with erotic tension, De Palma flaunts it. Where Corneau went for nightmarish reality, De Palma does noirish dreams.

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