The Globe and Mail (Toronto)'s Scores

For 4,417 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Fire at Sea
Lowest review score: 0 People Like Us
Score distribution:
4417 movie reviews
  1. One disappointment here is that Patricia Clarkson, the queen of indie film, is missing much of her usual spark. Her performance may be aiming for sensual, but too often it comes across more as listless.
  2. It's really a lazy comedy that is content telling a crude and corny Hollywood story with a Mexican accent.
  3. There's an easy familiarity and charm in the creased, middle-aged faces of Nimoy, Shatner and DeForest Kelly (the perpetually irascible Dr. McCoy), all of whom now play their parts with an ever-present twinkle. Their behavior rarely has anything to do with the motives provided by the plot; rather, they wear their characters like old habits, as they boldly go where they've always gone before. [26 Nov. 1986, p.C5]
    • The Globe and Mail (Toronto)
  4. The reflection offered in the puckered muscle and polished chrome of Furious 7’s heroes feels like a cheery escapist distortion of a culture that more closely resembles the smashed steel, mangled bone and blood and vomit of a plain ol’ unsexy car wreck.
  5. Without either the effect of a full concert spectacle, or up close and personal backstage intimacy, This Is It is neither one thing nor the other.
  6. While the film is well meaning and the joshing crew at Calvin’s Barbershop is a hoot, the Malcolm D. Lee-directed comedy is plagued by relentless mawkishness, indifferent storytelling, willful naiveté and clunky seriousness.
  7. The 131-minute, car-racing film is adolescent guy date histrionics – screaming tires, snappy putdowns and, because we're in Rio, an occasional influx of bodies beautiful in Band-Aid bikinis.
  8. From a sympathetic perspective, let me say that sequel No. 3 shows how difficult it is to keep these franchises fresh while remaining true to their initial charm.
  9. It's refreshing to have a movie assume that its viewers are also readers, yet this one takes that assumption to testing lengths. To those fearful of flunking the test, my advice is simple: Bring along the book as your cheat-sheet.
  10. Theodore Braun's work may well reach and convert one thousand more Adam Sterlings. Here's hoping it does. There is, however, a difference between a worthy cause and a worthy film.
  11. Is there any doubt Evans' Captain America will do exactly what the character created 70 years ago by Joe Simon and Jack Kirby did in the comics – kick Nazi butt? The real surprise will come next year, when we get to see how the super-square Captain adapts to 21st-century life.
  12. If the lines in the script were as keenly etched as the ones in her face, Keaton would have had something to work with. Instead, during an especially lovelorn sequence, she's asked to indulge in a crying montage so painfully extended that it has us in tears too -- weeping from embarrassment for her.
  13. Vacillating between sappy and snappy, Stuart Little 2 is featherweight family fare, perfectly timed for viewers with short attention spans.
  14. Nope, this picture doesn't bear thinking about, but, if you resist that nasty temptation, setting all your mental gauges at Dead Slow, the flow of the action will see you through.
  15. As limp and cold as The Founder is as a movie, it contains one of the finest Keaton performances of his entire career, maybe the one he’s been working his whole life toward.
    • 66 Metascore
    • 50 Critic Score
    There might be a pretty good film lurking in this latest dramedy from the veteran Scottish directing-writing team of Ken Loach and Paul Laverty. I use the conditional because at least half the dialogue is delivered in a Glaswegian Scots so thick, it might as well have been Urdu.
  16. The effect of so much pretension and so many lovely images eventually becomes soporific.
  17. Leaves us with is sporadic showers of laughs for kids under 10. That's a shame, because the film could have been a delight for everyone, if only it hadn't learned to behave.
  18. What you're smelling is Ang Lee's "The Ice Storm" without the pathos and the punch, or John Updike's "Rabbit Redux" minus the insight and the style.
  19. These characters don't seem illuminating at all – just damned annoying and, ultimately, dead boring.
  20. View the Second World War through a child's eyes and the result isn't hard to predict: a loss-of-innocence tale. Winter in Wartime is the boilerplate version, with the already dramatic facts of the era ramped up to melodramatic levels. Little wonder it rings so false.
  21. On the byways of any bustling metropolis, here is what the combination of bicycles + cars + pedestrians is certain to produce: (1) nasty accidents and (2) ferocious debates. More surprisingly, on the silver screen in Premium Rush, here is what the same combination fails to produce: a good action movie.
  22. Here’s a date movie that will neither cozily cheer you nor satisfyingly thrill you, but instead leave you scratching your head.
  23. The film is not significant, but it is principled and sweetly subversive. And, like high school, if you’re not careful, you might just learn something from it.
  24. Lack of sparkling teen chatter prevent this movie from being a slam dunk.
  25. Delicatessen is a carniverous sausage - lots of fat, a few meaty bits. [10 Apr 1992]
    • The Globe and Mail (Toronto)
  26. Only Tudyk’s dry humour in the role of the tactless droid K-2S0 makes Edwards’s darkly reductivist approach occasionally seem smarter rather than lesser. In the end, this hardening of the franchise seems likely to alienate both the fans and the uninitiated.
  27. The film's broad attempts at humour are all mouldy bits from Hollywood films.
  28. All of this unfolds with such predictability, the title might as well be The Great Foregone Conclusion.
  29. In the end, the power of Minervini’s pseudo-fiction gives way to a much blander version of pseudo-reality.

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