The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,883 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Maria Full of Grace
Lowest review score: 0 Far and Away
Score distribution:
3,883 movie reviews
    • 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.
  1. There, in its midst, stands a freeze-dried Arthur -- stripped of his legend, shivering in the cold and wondering, like the rest of us, where in hell the magic went.
  2. It's Footloose Loose In The Third Reich and, even with your expectations kept knee-high to a kindergarten, you might have at least hoped for some finger-poppin' music and a few great dance scenes. Sorry. Here, too, things come up short. [05 Mar 1993]
    • The Globe and Mail (Toronto)
  3. The script is definitely mediocrity mixed with complication.
  4. 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)
  5. Little Man will probably satisfy fans of the Wayans.
  6. This time the action takes us out of the usual campgrounds and girls in underwear into the realm of outer space, where no one can hear you screaming "Enough already."
    • 68 Metascore
    • 38 Critic Score
    What could have made Noah work is the same sense of urgency – of fateful craziness – that made "Pi" so memorable, and which also factored into the fatal obsessions of "The Wrestler" and "Black Swan" (two very flawed movies that admittedly benefited from stronger lead performances than the one here).
  7. Last Night is a New York morality play: A film in love with (lower) Manhattan that is suspicious of real romance. What it lacks is Allen's sense of horseplay; his appetite for lunatic adventure. When you take a bite of the Big Apple, you're not supposed to nibble.
  8. The filmmakers have altered the premise from the unlikely to the ridiculous.
    • 24 Metascore
    • 38 Critic Score
    Give this call a miss.
  9. Okay, it's just a movie, but his "reward" just doesn't cut it, even on a basic storytelling level. A crooked casino and a nephew's experiment with drugs are not enough justification for the hero's violent acts of vengeance.
  10. White Nights is too ponderous to have the pizzazz of trash and too dumb to have the insight of art - it's a lumbering behemoth of a film in which the extraordinary talent of its one authentic star, Mikhail Baryshnikov, is exploited in a Cold War cartoon that suggests a musical adaptation of Ayn Rand's anti- Soviet novel, We The Living. [22 Nov 1985]
    • The Globe and Mail (Toronto)
  11. It's all very pat and, ultimately, annoying.
  12. Properly handled, any one of these characters could be made, just barely, believable. But here they simply go off, like rockets, exploding out of nowhere and racing across the screen, one after the other.
    • 46 Metascore
    • 38 Critic Score
    Port Dundas remains snoozy and depopulated even when throats are cut and stomachs thrown to the sheepdogs, and so does the movie.
  13. Just the umpteenth replay of the girl-meets-boy/boy-loses-girl/boy-gets-girl story.
    • 54 Metascore
    • 38 Critic Score
    A run-of-the-mill movie hero.
    • 38 Metascore
    • 38 Critic Score
    It is harmless, frighty fun for teenage audiences, but adults will leave theatres with their bejeebers intact.
    • 65 Metascore
    • 38 Critic Score
    It adds nothing to our understanding of "Howl," and the movie is exactly what the poem isn’t: ordinary.
  14. There is no pleasure in watching a child suffer. Just embarrassment and a vague sense of shame. Watching Trapped simply makes us feel guilty.
  15. Mostly, the plot is busy and incomprehensible and the action sequences directed with all the art of a detonation.
  16. A bunch of scenes in need of a tighter narrative and, more importantly, a raison d'être.
  17. In the final frames, and the final analysis, Alien gets the worst of both worlds - it's boring and it's messy. The title may be "cubed," but the movie looks awfully square. [22 May 1992]
    • The Globe and Mail (Toronto)
  18. Narratively, the film strikes all the sentimental chords that audiences typically find so reassuring, but the music grates here, sounding mechanical and flat, lacking the single ingredient indispensable to any uplifting fable - a charming belief in its own sweet nature. [19 Apr 1996, p. C1]
    • The Globe and Mail (Toronto)
  19. It's the perfect sort of movie to have playing on a television in the corner of a rec room during a low-key beer and pizza party.
  20. The disturbing thing in this preposterous piece of family fluff from writer-director Steve Oedekerk (Ace Ventura: When Nature Calls, the Oscar-nominated Jimmy Neutron: Boy Genius) is the sight of bulls with udders.
  21. Try not to be in the same room as Jesus Henry Christ. At the very least run when the first fire alarm sounds.
    • 46 Metascore
    • 38 Critic Score
    Like a little boy playing with his first chemistry set, Hughes has thrown together the labelled contents of just about every teen-film cliche. And the experiment is a failure of excess - like a furious potion that bubbles up, fizzes briefly, and then fizzles out before expectant, and then disappointed, eyes. [3 Aug 1985]
    • The Globe and Mail (Toronto)
  22. There's no doubt the cast is driven and talented; some day, it might be interesting to watch a film about what such kids are really like.

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