The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,766 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: 59
Highest review score: 100 Eyes Wide Shut
Lowest review score: 0 The Adventures of Baron Munchausen
Score distribution:
3,766 movie reviews
  1. Soderbergh has bathed the Depression in lovely, golden-brown hues - so lovely, so golden, that the flick seems to be unfolding from inside the delicious core of a burnished bran muffin. [20 August 1993]
    • The Globe and Mail (Toronto)
  2. I'll personally toast the buns of anybody I hear saying anything good about the movie Broadcast News. Broadcast News is for boobs. It doesn't apply to us. Anyone who thinks otherwise is invited not to think, because thinking is for statues. [16 Dec 1987, p.C5]
    • The Globe and Mail (Toronto)
  3. Because the society in Menace II Society is boxed in sociologically, the picture (for all its strengths) is boxed in esthetically. Already, this genre is beginning to seem as much a victim as the victims it portrays.
  4. The problem here isn't how the figures look; rather, it's what they do and say -- the story is lame and the dialogue no better.
  5. JFK
    A three-hour oration, rambling and familiar and repetitive, during which director Oliver Stone uses the assassination of John Kennedy as an elaborate pretext for delivering a dull sermon. [20 Dec 1991]
    • The Globe and Mail (Toronto)
  6. A cinematic homage as flawed as its subject. Flawed, yet with a peculiar fascination of its own -- what we have is a genuine artist paying sincere tribute to an unapologetic mediocrity, and stooping awkwardly to the task.
  7. Despite an inspired central section involving Robin Williams as the King of the Moon and Valentina Cortese as his Queen, The Adventures of Baron Munchausen is a near-disaster of Ishtarish proportions. [11 Mar 1989, p.C3]
    • The Globe and Mail (Toronto)
  8. 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)
    • 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).
  9. Perfectly passable kiddie escapism. It has a thrill or two, and a chill or three, but it has no poetry, little sense of wonder, no resonant subtext (Jungian or otherwise), no art... When it's over, it's gone. Extinct.
  10. There are a few laughs at the start of This Is the End, and a couple more at the end of This is the End. As for the endless middle, it’s middling.
  11. It's a turning-the-tables story a five-year-old could appreciate -- except for the confusing crowd scenes and haphazard camera work. Technically speaking, Waters' skills haven't improved much over the years.
  12. American Me is a graphic and honest effort that, unfortunately, becomes a catalogue of other films on similar subjects. Its depiction of prison life is much too slow, too long, too repetitive and too familiar. [13 Mar 1992, p. C3]
    • The Globe and Mail (Toronto)
    • 65 Metascore
    • 38 Critic Score
    It adds nothing to our understanding of "Howl," and the movie is exactly what the poem isn’t: ordinary.
  13. On the whole, the film is content to lumber awkwardly between the condemned man on death row and the intrepid reporter on his save-a-life beat -- there's about as much rhythm in the style as there is sense in the plot.
  14. Admittedly, it's been a long time since Kelly McGillis was being hyped as "the next Grace Kelly." But of all the films in all the world for whom the former Top Gun lust object could have done a walk-on, this lacklustre haunted-house feature is the one she chooses?
  15. The movie seems much, much longer than its 90-minute running time. [15 June 1998]
    • The Globe and Mail (Toronto)
  16. The cast is equally strong (especially McDonnell), but the vast subject and the shifting settings force Kasdan all over the map. [10 Jan 1992]
    • The Globe and Mail (Toronto)
  17. The manipulative Star Wars-style score is the only novelty on tap in Silverado, which has a plot too drearily complicated and arid to summarize and an attitude almost unbearable in its dryly smirky assurance that it knows what you want from a Western, which is to say, action that never quits, emotion that's never felt, characters that are never real and situations that are never sensible. [10 Jul 1985, p.S7]
    • The Globe and Mail (Toronto)
  18. Meant to explore anger, all this picture does is manufacture it.
  19. 2 Days in New York plays like 2 years in Attica. You don't watch this movie so much as serve it out, a light comedy doled out as a heavy sentence.
  20. The performers are powerless to bring life to this moribund courtroom drama...a snoozer.
  21. Most of the time the film is simply stupid; not offensive, just silly. [03 May 1983]
    • The Globe and Mail (Toronto)
  22. One of those purposefully glum studies in alienation that Hollywood occasionally produces as blue-state specials for disenchanted liberals.
  23. When The Big Chill is busy being funny, it's a great comedy, but when it goes for depth, it hits bottom an inch down. [30 Sep 1983, p.E1]
    • The Globe and Mail (Toronto)
  24. Kubrick certainly doesn't fail small. One could fast forget The Shining as an overreaching, multi-levelled botch were it not for Jack Nicholson. Nicholson, one of the few actors capable of getting the audience to love him no matter what he does, is an ideal vehicle for Kubrick. [14 Jun 1980, p.E1]
    • The Globe and Mail (Toronto)
    • 61 Metascore
    • 38 Critic Score
    One of Blomkamp’s most unlikely conceits is a machine – apparently standard-issue in all of Elysium’s made-to-order McMansions – that can heal all injuries and infections at the flick of a switch. He could have used one to fix Elysium’s battered and broken screenplay.
  25. More than merely another bad movie, it's the most depressing development yet in Coppola's career. It's a would-be cash cow bred cynically to excrete money, the arty answer to "Child's Play 2" or "Back to the Future III."
  26. Using a kidnapping plot to call up some old-fashioned suspense, it doesn't even get a dial tone.
    • 60 Metascore
    • 25 Critic Score
    And yes, the super effects are fantastic. But overall, Ra.One fails to impress.

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