The Globe and Mail (Toronto)'s Scores

For 4,975 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 Police, Adjective
Lowest review score: 0 Never Again
Score distribution:
4975 movie reviews
  1. All costume and scant drama, the result is a curiously flat spectacle, neither offensive nor compelling.
  2. A sprawling prison drama that seeks, by turns, to endear itself and then traumatize its audience.
  3. Odd but engaging film.
  4. A well-cast drama that switches between sweetness and menace, the film goes down easily, thanks to a talented cast.
  5. As coy sleaze goes, the new Olsen twins' movie doesn't match Britney Spears's "Crossroads," but it comes close.
  6. To be fair, the movie is nothing if not consistent -- the idea is every bit as dumb as the execution.
  7. Watching Morgan Spurlock commit slow suicide in Super Size Me is rather like watching Nic Cage do the same in "Leaving Las Vegas," except here the "preferred" instruments of destruction are hamburgers and vanilla milkshakes instead of booze and cigarettes.
  8. The film extends Jackie's fame beyond her allotted New York 15 minutes and keeps it alive 30 years later, thanks to a mixture of fond high-profile interviews and grainy archival clips.
  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. What with two women sitting on the U.S. Supreme Court, you'd think that Hollywood would have graduated past the idea of a female lawyer being a "cute concept," but apparently not. Laws of Attraction is stuck in a time warp that pre-dates Doris Day and Sandra Day O'Conner.
  11. Lohan, in her third lead role in a year, is a good reactive young actress, and London, Ont., native Rachel McAdams is excellently evil, a dose of poison in a pretty lacquered container.
  12. Shows how our family fictions sustain us, and how some truths are better left unspoken.
  13. The best Canadian beer movie since "Strange Brew," and the best 1930s musical of the year, The Saddest Music in the World is the kind of exhaustingly delirious film that only Winnipeg director Guy Maddin could make.
  14. The lanky action star of the cult television series "Alias" is assigned a tired playbook in this film, but she finds room to manoeuvre in a performance that exceeds expectations.
  15. If your idea of a bargain is two bad movies for the price of one, then shell out for Man on Fire. And don't fret about that incendiary title because this thing is all fuse.
  16. Not an extraordinary portrait, but it does portray an extraordinary man.
  17. So much cinematic majesty perched precariously atop so little common sense. But, hell, maybe Quentin's right; relax, enjoy -- a castle with a shaky foundation is still quite a sight.
  18. Vardalos has a talent, and there is one sequence in the movie that works. In the romantic subplot, Connie falls for Peaches' brother Jeff (David Duchovny, as Vardalos's sleepy, hunk replacement for John Corbett in Greek Wedding).
  19. An overemphatic revenge fantasy devoid of even a trace of excitement or wit.
  20. In the Scotland of Young Adam, love is getting dragged through the mud.
  21. Rousing? Sort of. Never before, one feels, have so few given so much for so much real estate.
  22. Hathaway may be in a royal rut, but the tiara seems to fit.
  23. The mainstream prominence of pornography gets a shove forward with the teen comedy, The Girl Next Door, an improbably-not-terrible teen sex comedy.
  24. The obvious problem with The Whole Ten Yards is that it begins with the wrong kidnapping. Instead of taking Oz's wife, the criminals should have grabbed the authors of the original movie.
  25. A film that appeared exceptional turns mundane.
  26. If laughs are the currency of any comedy, then this one pays minimum wage and, worse, makes you work damn hard even for that pittance.
  27. It's a treat because, making no apologies for the source material, director Guillermo del Toro lets his picture gorge on power bars of pop energy, sugared with sprinkles of playful humour, and, at least twice, laced with a visual style so piercingly keen that horror morphs into beauty. Not bad for a pulpy outing.
  28. Whatever the narrative shortcomings, these characters have the warmth of antique painted storybooks, unlike the eerie plastic simulation of Pixar characters.
  29. In its nearly two-hour running time, in its always lugubrious pace, in its almost complete absence of laughs, The Prince & Me is a comedy that plays like a tragedy. No stricken bodies, though, unless you count the ones in the audience slumped back in their seats -- perchance they slept.
  30. 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.

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