The Globe and Mail (Toronto)'s Scores

For 4,732 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Cujo
Lowest review score: 0 Showgirls
Score distribution:
4732 movie reviews
  1. Understandably, a script so obsessed with the dark doings of plot has little time left over for the study of character, and, thus, we never really get to know these people.
  2. Entertaining, if highly predictable, escapist ensemble comedy.
  3. Any one of these narrative components might have made for a worthy picture. But that would have taken a more imaginative writer than Charles Leavitt and a more sensitive director than Gary Fleder.
  4. It must be said that the closing sequence, in which Arthur meets the misbegotten Mordred on an orange battlefield illuminated by a shield-sized red sun, is an epic, Oedipal masterpiece of authentic mythic power, a sequence so strong it shakes the torpor from one's shoulders and induces regret that the rest of the saga has been so juvenile, so lifeless and so lacking poetry or Shakespearean sweep. [11 April 1981]
    • The Globe and Mail (Toronto)
  5. The most engaging performance is Javier Bardem’s solidly nasty Captain Salazar, the undead commander of a ghost ship. His disintegrating skin and holey crew are fabulously rendered as evaporating digitizations: It’s the special effects and swelling action sequences that make the movie palatable.
  6. Before it turns into a thriller, and goes badly awry, Red Lights paints a devastating little portrait of a marriage on the rocks.
  7. Country Strong has a pleasant soundtrack of conservative country music, many of the tunes newly written for the movie, some of them performed by old pros and some of them performed by the cast.
  8. Laugh? Well, once.
  9. For some (okay, me), The Holiday, like the holidays, will require some girding up, and is best met halfway with a self-immunizing smile. Otherwise, the good cheer may ring false; worse, it might even seem to sell love cheap, and lovers short.
  10. Director Irwin Winkler (Night and the City)is rarely better than pedestrian in handling this story. At worst, the dramatic elements are plain clumsy.
  11. Still, even Romero's staunchest fans might conclude their hero is going through the motions here. Yes, almost like a zombie.
  12. Hey, it’s all good clean fun.
  13. To be very generous toward the filmmakers' intentions, Beowulf & Grendel might be seen as a misguided attempt to lend some modern nuance to a traditional tale of good and emphatic evil. But why pussyfoot? The movie is a lumbering and ludicrous mess.
  14. The only thing majestic about Shrek the Third is the title.
  15. At least The Infidel is an equal-opportunity blasphemer, and God bless it for that. Otherwise, this thing plays like a cheeky Brit-com blown up to feature length, with a thin coat rack of plot to hang the ethnic humour on, and a wish to offend without being offensive.
  16. The movie is sentimental and reliant on bodily-function humour, but it also has a generous spirit, a multicultural rainbow of characters, and a social message about approaching fatherhood responsibly.
  17. Breezy, sleazy and a little bit wheezy, The Big Bounce combines a short running time, a portrait of island-life corruption, and a retro surf-and-scam plot. Throw in a vintage, funky-soul soundtrack and you have the ingredients of ever so many bad television shows.
  18. Orphan descends into a formulaic bloodbath that barely registers a pulse.
  19. This breach with the audience does matter, for it is one thing to seduce your viewers and quite another to trick them. Love is all about trust, after all.
  20. The problem is director Joe Carnahan, who’s way too manic even when the formula calls for calm – he can’t stay still long enough to drive home the punch-lines.
  21. Though the script takes pains to paint George as a passive boy-man, there's just not enough lovable here and too much of the thoughtless lout. Butler beware: In acting as in soccer, if you keep taking dives, sooner or later you pay the penalty.
    • 43 Metascore
    • 50 Critic Score
    Not much room for controversy here, and certainly none for counterargument, this is prime-time TV history rendered as a soothing, Papa Bear bedtime story.
    • 48 Metascore
    • 50 Critic Score
    Like the fakery it satirizes, DiCillo's Real Blonde ends up ringing hollow.
  22. Beverly Hills Cop II puts its mega-star through a medieval trial, an ordeal by dullness. Survive these surroundings, Eddie Murphy, and you must truly be one very funny guy. Well, Eddie survives, barely, and taking our cue straight from him, so do we, almost. [22 May 1987]
    • The Globe and Mail (Toronto)
  23. One of those crime flicks besotted with its own plot.
  24. An Eddie Murphy comedy that's actually endearing.
  25. Laudable for its commentary on hedge-fund greed and a government unable to take care of its people, the well-acted film loses points for story conveniences that rob the final scenes of the emotional weight otherwise earned. A promise made is a balance owing, and The Debt fails to pay off.
  26. While a lot of geography is covered, as a concert film, Conan O'Brien Can't Stop is decidedly thin entertainment.
  27. Hugh Grant's Martin Tweed is nowhere as menacing (or interesting) as the callous bruiser who makes every episode of American Idol a chilling psychotic adventure.
  28. It is, alas, très twee. A muchness of silliness. Beautifully filmed silliness, and fetchingly acted tweeness. But give me Cruella de Vil any time.

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