The Globe and Mail (Toronto)'s Scores

For 3,940 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 The Player
Lowest review score: 0 Far and Away
Score distribution:
3,940 movie reviews
  1. 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.
  2. An Adam Sandler movie without Adam Sandler, it turns out, is not necessarily an improvement.
  3. Barely a chuckle in sight.
    • 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.
    • 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.
    • 42 Metascore
    • 38 Critic Score
    In time, we may look back at Lost River as a fascinating mess or a misunderstood miss. As for his promise, I’d be fine if Gosling promises to never make a film like this again.
  4. 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.
  5. 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)
  6. The script is definitely mediocrity mixed with complication.
  7. 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)
    • 33 Metascore
    • 38 Critic Score
    The problem with Kidnapping Mr. Heineken, which is the second movie in four years about the sensational 1983 crime (the other was a Dutch production with Rutger Hauer as the dapper snatchee), is that it follows the kidnappers out the door instead of sticking with the coolly composed man behind it.
  8. Little Man will probably satisfy fans of the Wayans.
  9. 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).
  10. 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.
  11. The filmmakers have altered the premise from the unlikely to the ridiculous.
    • 24 Metascore
    • 38 Critic Score
    Give this call a miss.
  12. 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.
  13. 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)
  14. It's all very pat and, ultimately, annoying.
  15. 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.
  16. 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.
  17. There is no pleasure in watching a child suffer. Just embarrassment and a vague sense of shame. Watching Trapped simply makes us feel guilty.
  18. Mostly, the plot is busy and incomprehensible and the action sequences directed with all the art of a detonation.
  19. A bunch of scenes in need of a tighter narrative and, more importantly, a raison d'être.
  20. 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)

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