The Globe and Mail (Toronto)'s Scores

For 4,441 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Alien (re-release)
Lowest review score: 0 Debug
Score distribution:
4441 movie reviews
  1. It's the sort of visual joke you would wince at in a 1940s movie; to see it nowadays, you're tempted to dismiss it as unintentional.
  2. Clumsy and erratic, Lolo is a slapdash comedy of errors that slips on its own banana peel but gets few laughs.
  3. 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.
  4. Call me Grumpy, but this seems less an adaptation than a random assault.
  5. 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.
  6. 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.
  7. The plot's not so hot -- it feels like it was jotted down by someone on an after-dinner napkin.
  8. As Alice, Wasikowska, who has lost the injured look that made her so effective the first time out, creates a character who is fundamentally sweet, likeable and loyal.
  9. 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.
  10. With some movies, though, it's just the opposite. Like this one. It's a whole lot easier to forget than to forgive.
  11. 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."
  12. 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.
  13. 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.
  14. An overemphatic revenge fantasy devoid of even a trace of excitement or wit.
  15. I won’t presume to understand what passes for popular taste. But seeing an audience in the tens of thousands lose their mind for Hart’s jokes about hating his family and the hypothetical perils of dating a woman with only one shoulder, I can’t help but feel skeptical.
  16. 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)
  17. 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.
  18. 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)
  19. 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.
  20. Call it Nancy Drew and the Case of the Confused Adaptation.
  21. A shameless pastiche of Starman’s alien-on-Earth sci-fi, The Boy in the Plastic Bubble’s medical pathos and any number of young-lovers-on-the-run stories, The Space Between Us may set back the Earth-Mars relationship light years.
  22. There's not a scrap of imagination in the script.
  23. 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.
  24. Talky, crude and sexist, Mallrats is significantly less funny, a flatulent sequel to the director's small start.
  25. Complete Unknown is the perfect case study of what happens when bad movies rope in good actors. In this case, it’s Rachel Weisz and Michael Shannon, two of the most talented performers working today, who get sucked into writer-director Joshua Marston’s vortex of nothingness.
  26. 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.
  27. Feels like a five-year-old with a megaphone, excitedly yelling about his latest bulldozer-soldier-dinosaur smash-kill-squash-everything game.

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