The Globe and Mail (Toronto)'s Scores

For 4,867 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Terminator 2: Judgment Day
Lowest review score: 0 War Room
Score distribution:
4867 movie reviews
  1. Biggs, in particular, seems positively frozen by his imitative efforts -- less Woody than wooden. Ricci is a bit looser, and has the added advantage of hiding behind those saucer-eyes.
  2. Ocean's Twelve lacks the courage of its star-driven convictions. Next time, Steven and George and Brad and Matt should ditch the hypocrisy and just shoot themselves shooting the breeze, poking fun at each other from within the smug sanctuary of their precious celebrity.
  3. The goal is apparently a double exercise in heartfelt lessons and deep hilarity, but it's hard to tell because the pace feels so lethargic. Director and screenwriter Wil Shriner is a TV-sitcom veteran (Frasier, Everybody Loves Raymond) whose idea of directing a movie is to make another sitcom, only four times as long.
  4. The fun of Biker Boyz should be in the racing, and though director Reggie Rock Bythewood throws around a lot of techniques, nothing really ignites.
  5. Anyone interested in a no-seatbelts, out-of-control action flick will find much to enjoy in Faster; although even they may prefer seeing it in Blu-Ray at home, which would allow for trips to the fridge for fuel when the film begins to idle in the last reel.
  6. Brooks knew how to engineer a well-crafted script. Yet on the evidence here – a stuttering two-hour outing bereft of any rhythm, a bunch of scenes in search of a movie – he's apparently forgotten.
  7. A meditation of life, death, reincarnation and biblical symbolism that feels peculiarly like a head-shop poster, blown up to feature-movie size.
  8. As in so many essentially childish movies, it's an actual child who's always the smartest pants in the room.
  9. [Walken's] every minute on screen is filled with that level of jittery invention, and, watching him at play, not even the flintiest temper could resist a wide grin. Envy can surely be a trial, but Saint Christopher is there to ease our troubled journey and see us smilingly home.
  10. Dark Shadows only meaningful relationship is between Depp and his audience. He's a persona now, no longer an actor. And the kick here, as always, is watching him try on funny accents and hairdos.
    • 39 Metascore
    • 50 Critic Score
    As a script it is uneven and tonally inconsistent – best as a brainless, gross-out comedy, less successful when striving for emotional poignancy.
  11. The Black Stallion Returns is not a magic monument - it's only a terrific film for kids. [26 Mar 1983]
    • The Globe and Mail (Toronto)
  12. At the heart of the problem with this period piece is an absence of a riveting scene or a memorable slice of dialogue.
  13. Performances, over all, are a mixed bag; Zeta-Jones does a fair, if incongruous, impersonation of a forties vamp, while Chandler and Pepper do well with limited screen time. As usual, Wright, as a Machiavellian police commissioner, transcends so-so-material to establish himself as the most complex character in the film.
  14. While the outdoor sequences were filmed in New Zealand's Woodhill State Forest – the movie's most stunning 3-D moments – Yogi Bear does feature notable "Canadian content" via two Ottawa-born thespians.
  15. The movie itself seems more familiar than fascinating, more innocuous than inflammatory, and, at 2½ hours, more tedious than anything else.
  16. Two great beginnings disappoint in the end. If the novel is a dying form, film treatments are the poison. [21 Sep 1981]
    • The Globe and Mail (Toronto)
    • 57 Metascore
    • 50 Critic Score
    The film's long middle section is basically "Paranormal Activity" sans that series' handicam aesthetic, as things go bump in the night and the grown-ups take forever to get their act together.
  17. The movie, which is roughly as predictable as the attraction of flies to dung, is a hackneyed mix of sentimentality and anarchic comedy.
  18. The original was shot in 3-D; this, by contrast, is 1-D all the way.
  19. More entertaining in concept than execution. What starts as geek comedy gradually slides into a familiar morality play about the savagery beneath the veneer of civility.
  20. The film itself struggles to do justice to each victim. Turns out three stories are two too many. The Company Men should have been downsized.
  21. Altered States can be accused of many things, but never of harboring a new idea. Because the script's lessons have been drowned in fruity religious imagery, Altered States is at most an accomplished horror film, the kind of stomach-churning movie to which people like David Cronenberg aspire. [23 Jan 1981]
    • The Globe and Mail (Toronto)
  22. It should be a better, more authentic movie, considering that screenwriters Maupin and his ex-partner, Terry Anderson, are retelling parts of their own story here.
  23. Horns is allegorically cluttered, unsure of its tone and outrageous with its snakery in a half-serious supernatural thriller about good, evil and redemption in a garden of Eden.
  24. If the facts of the story are essentially true, their presentation is as formulaic as ever.
  25. The movie is a preholiday trifle that’s mildly risqué and a lot sentimental.
  26. In the world of pulp movies, where horror, westerns and Asian exploitation borrow and blend with each other, there's a point where the cross-genre mishmash begins to feel like gobbledegook. That's definitely the case with Sukiyaki Western Django.
  27. This is the kind of picture that is faux subtle when it should be bold, and really ham-handed when it should be delicate.
  28. Where this PG-rated adaptation of a hit Broadway show, adapted by Adam Shankman falls down is by being far too mild for its supposedly outrageous subject.

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