The Globe and Mail (Toronto)'s Scores

For 5,145 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 Kafka
Lowest review score: 0 Far and Away
Score distribution:
5145 movie reviews
  1. 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.
  2. The premise of Child's Play, in which the murderer is a much-merchandised doll patterned after cartoon characters known as Good Guys, is long overdue. Unfortunately, the package in which the present arrives is often too little, sometimes too much, and always too late. [11 Nov 1988]
    • The Globe and Mail (Toronto)
  3. This is the kind of picture that is faux subtle when it should be bold, and really ham-handed when it should be delicate.
  4. 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.
  5. There's a scientific law to be discerned here that producers would be well to heed: Mediocre movies start to drag as soon as the action speeds up; when the explosions start, they fall to pieces.
  6. Comes close to collapsing under the weight of drawn-out scenes and an earnest story that piles on minor themes and subplots, but the energy and visual kick of the band numbers saves the day.
    • 36 Metascore
    • 50 Critic Score
    Wobbles like a punch-drunk fighter. It never finds its legs, but allows Ryan -- whose wardrobe looks like Erin Brockovich crossed with Barbarella -- the space to do what she does best: turn on the charm, and make audiences wonder why she's slumming in such a lame storyline.
  7. There’s little here to improve upon the stilted quality of the original, and it’s even more cumbersomely plotted.
  8. With no help from the dialogue, Kidman doesn't have a clue how to make clueless interesting. Not for lack of trying. Her efforts, which often consist of channelling Elizabeth Montgomery by way of Marilyn Monroe, are painful but insistent.
  9. A layabout movie -- not risibly bad, just relentlessly sub-par.
    • 33 Metascore
    • 50 Critic Score
    When Uptown Girls isn't trying to play up its wacky high jinks -- and those tend to be so weak they can't possibly float the film -- it stoops to the kind of psychological character development films this shallow should really avoid like the plague.
    • 39 Metascore
    • 50 Critic Score
    Full of poop and pratfalls, Daddy Day Care's abrasive marketing campaign promises a fresh slice of hell. So for it not to cause physical pain to any viewer over the age of five is a considerable achievement.
  10. Throbbing musical crescendos and flickery flashbacks abound but apart from some outlandish plot machinations, nothing here is good or bad enough to be memorable.
  11. Ambitious but generic martial-arts movie.
  12. A wild, reckless, gleefully immoral work of pop nihilism.
  13. There are the usual gaggle of embarrassing friends, a lot of voice-over and montages, a wedding, a funeral and wait … something’s missing. Oh, right. Hugh Grant.
  14. No matter how you judge it -- as a strict morality play or simply a psychological thriller -- Apt Pupil just doesn't make the grade.
  15. Sometimes, a strong premise makes for a weak movie, which ends up drowning in its own clever conceit.
  16. Lola Versus is all Greta all the time, a bonanza for fans and proof that Gerwig's easy offbeat charm, obvious smarts and physical comedy gifts can carry a film.
  17. Under better circumstances, Cooper might be said to have stolen the picture outright. But as it is, and compelling as he is, there's just nothing here to steal.
    • 41 Metascore
    • 50 Critic Score
    On screen, the result feels stagey and cramped, as though the film had been "adjusted for your TV set" before going to video. [13 Dec 1996]
    • The Globe and Mail (Toronto)
  18. Light to the point of disposability, Sweet Home Alabama is a small screwball comic idea that spins out far too long.
  19. In the role, Lawrence dominates. Red Sparrow is stylish and tense enough, but the writing is run-of-the-mill and the film lacks the soul of something like the Nikita movies. The watchability comes from Lawrence.
  20. The Mosquito Coast is a work of consummate craftsmanship and it's spectacularly acted, down to the smallest roles (Martha Plimpton as a classically obstreperous preacher's daughter, for example), but its field of vision is as narrow and eventually as claustrophobic as Allie's. [28 Nov 1986]
    • The Globe and Mail (Toronto)
  21. Dealing with such heavy matters as death, faith and forgiveness, the film wants to be a classic-in-the-making, but it just doesn’t hit the emotional and narrative cues necessary for such a weighty job.
  22. As for Vaughn, he seems exhausted by his strenuous efforts to bring a few sparks of spontaneity to such an overcalculated Christmas product.
    • 50 Metascore
    • 50 Critic Score
    Having no emotional stakes leaves me cold, and leaves three cheeky actors with nothing to play. These characters are staring down death. They should be raging against the dying of the light, not going gently into their early-bird supper.
  23. Rude, lewd and occasionally in the nude, The Hangover brings a collection of fresh faces to the familiar raucous male-bonding comedy.
  24. A story only slightly more complex than your average episode of "Friends."
  25. The emotional geometry is familiar enough to be credible yet odd enough to be creepy.

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