The Globe and Mail (Toronto)'s Scores

For 3,948 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: 60
Highest review score: 100 The Descendants
Lowest review score: 0 Harlem Nights
Score distribution:
3,948 movie reviews
  1. Cholodenko casts much better than she writes. Yet, alas, even a talented veteran like Moore can't sell a hoary line like, "Sometimes you hurt the ones you love the most." Maybe if she'd set it to music – nope, sorry, that's already been done.
  2. The plot is squeezed dry in this bloody Valentine from Hollywood and becomes annoyingly predictable. Thriller stumbles on its own success
  3. The problem is not that the director is working but that his latest film is working too hard. Way too hard – this thing is melodrama running a marathon.
  4. Without warning, the picture falls hard into the very trap it had so studiously avoided, the one marked Expensive Gimmick... The same feature that begins like no film you've ever seen ends like every cartoon you've always avoided.
  5. The movie itself seems more familiar than fascinating, more innocuous than inflammatory, and, at 2½ hours, more tedious than anything else.
  6. But the stuff looks like what it is -- trite imagery grafted over the narrative barrens, like a bad weave on a balding pate.
  7. Like a skill player who just can't score, The Damned United is all dazzle and no finish and, ultimately, damned frustrating.
  8. It's not the subject matter itself that's offensive -- pedophilia is as worthy a topic of investigation as any other. Instead, it's the subject's non-treatment -- we don't learn a thing that rings true.
  9. Yes, the premise is delightful; no, the delight doesn't last.
    • 79 Metascore
    • 50 Critic Score
    Adds more cosmic cliff-hangers than it resolves, and it's not as satisfying as the original. A star war can be an exhausting bit of business, especially when, in the end, it turns out to be something of a cheat.
  10. Altman shakes the camera like a two-bit horror director, and it seems a different sort of signature - less masterful than weary, less signed than resigned. Zero-sum, indeed.
  11. Beneath the polished surface, Dead Poets Society is moribund at the core - too pat, too safe and too hypocritical, as conformist as the conformity it so easily decries.
  12. Despite a superb cast and a fabulous look, the picture collapses under the weight of its lofty pretensions, especially in the black hole of the last act, where it topples into near-absurdity.
  13. A bland, workaday detective flick that should have been much better than it is.
  14. Hurt is so good at capturing the charming and chilling Ned that he almost makes up for the film's two primary weaknesses: Kasdan's inexperience and a message of significant unpleasantness. [28 Aug 1981, p.P17]
    • The Globe and Mail (Toronto)
  15. Rob Reiner's not up to it: when the movie is meant to be romantic, the tone is frequently mushy and sexless, and when it's meant to be anachronistic and satiric, it's vaudeville-vulgar.
  16. The result is a political thriller refreshingly long on grown-up dialogue yet lamentably shy on, well, thrills. This chatty thing does go on.
  17. Like its predecessors, Under the Sea is family-friendly viewing -- the great white shark swims by, as opposed to tearing prey to shreds. Its goal is to show biodiversity and offer information on how reefs grow, reminding us of threats to these environments.
    • 77 Metascore
    • 50 Critic Score
    Needless to say, what's refreshing about A Christmas Story is subversive to the sepia-toned and loving references to the forties which director Bob Clark has provided for the film. The fictional Parker family that Shepherd has written about for 20 years is not as gentle or gauzy as they first appear. It's possible to imagine them so preoccupied with their own problems, whether dealing with the neighbor's dogs or winning a mail- order contest, that they could forget Christmas altogether. [25 Nov 1983, p.E5]
    • The Globe and Mail (Toronto)
  18. Fitfully interesting, occasionally cringe-worthy, this is the sort of stagy production that mixes ribaldry and campy overacting that evokes summer theatre productions.
  19. Ultimately, the best thing about (500) Days of Summer isn't its gimmicky script. It's the constant performance of Gordon-Levitt, who shifts, scene-by-scene, from moments of ebullience to abject dejection.
    • 76 Metascore
    • 50 Critic Score
    Watching De Clercq dance is not only what Nancy Buirski’s uneven documentary does to best effect, it helps you understand the movie’s otherwise restrictive emphasis on the men who became obsessed by her, primarily her discoverer and husband George Balanchine and the dancer/choreographer Jerome Robbins.
    • 76 Metascore
    • 50 Critic Score
    In truth, despite its honesty, this is a flawed little film, its low comedy never funny enough to justify its crudeness.
    • 75 Metascore
    • 50 Critic Score
    In an irony, Godard’s certainly aware of (after all, he constructed it), Goodbye is noteworthy for being shot in 3-D, a calling card of the cookie-cutter Hollywood movies it couldn’t have less to do with.
  20. The Muppet charm, always more at home within the intimate frame of a TV set, is gone here.
    • 75 Metascore
    • 50 Critic Score
    An uneven but intriguing piece of whimsy that veers from powerfully symbolic cinematography into self parody.
  21. Before it turns into a thriller, and goes badly awry, Red Lights paints a devastating little portrait of a marriage on the rocks.
  22. The narrative, cobbled together from various Pooh stories by an army of writers, is held together reasonably well by John Cleese's soothing narration.
  23. Bouncing about from one flawed movie to another, Steven Spielberg has lost his way of late, and Munich finds him more disoriented than ever.
  24. The emotional geometry is familiar enough to be credible yet odd enough to be creepy.

Top Trailers