The Globe and Mail (Toronto)'s Scores

For 4,782 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Foxcatcher
Lowest review score: 0 War Room
Score distribution:
4782 movie reviews
  1. The result is less a screenplay than a manic quote machine.
  2. A good-looking but anecdotally slight dramedy about life and lifestyles in Los Angeles's hip Silver Lake district.
  3. The facts really get in the way of the portrait here, and we are left hungry for more Spacey and more insight into a man with the hubris to wonder if he has disappointed God.
    • 51 Metascore
    • 63 Critic Score
    Tropes are necessary for comedy. But tropes alone aren’t funny. What’s funny is a singular point of view that rises up to show us what’s absurd about our embedded expectations. Until more movies starring women are allowed to be truly audacious, we’re in for a lot of rough nights at the cinema.
  4. Once in a long while, it even comes tantalizingly close to that rarest of modern film commodities -- ribald wit.
  5. Judged esthetically -- the only yardstick worth applying -- it can be safely placed in that long line of indistinguishable Hollywood mediocrities, all of them trying in vain to resurrect an awfully weary genre.
  6. Audiences can watch any number of similarly talented comics on late-night television or, even better, get close to the action at a downtown comedy club.
  7. From that title on down, White Irish Drinkers is a compendium of clichés struggling to upgrade its status and become a respectable archetype.
    • 51 Metascore
    • 63 Critic Score
    Director Simon Curtis milks the predictable drama, thrills and heartache of the Holocaust-era story, but it’s a paint-by-numbers triumph, a copy of something we’ve seen many times before.
  8. The film walks the fine line between exploitation and empathy to cast a chilly, memorable spell.
  9. As angst-filled as if it were "Amadeus" and "Lust for Life" rolled into one.
    • 51 Metascore
    • 50 Critic Score
    Alas, the perfect Steve Martin vehicle will probably never be the perfect film, no matter how endearing the silver-haired actor makes himself. And so it is with Father of the Bride; good, but by no means great. [20 Dec 1991, p.C3]
    • The Globe and Mail (Toronto)
  10. Despite its $20-million budget, Me Before You is cheap; and just like a person who has more money than he knows what to do with, this film equates wealth with value and vulnerability with death.
  11. A meditation of life, death, reincarnation and biblical symbolism that feels peculiarly like a head-shop poster, blown up to feature-movie size.
  12. The movie is less a sequel to the original, in fact, than it is a remake - a more energetic, more absurd and possibly more entertaining remake. [17 Dec 1980]
    • The Globe and Mail (Toronto)
  13. This fluffy escape flick, directed by Ivan Reitman, is a TV sitcom plot grafted onto a travel brochure.
  14. The victory of The Accountant is in the tone. The title character isn’t presented as a superfreak – this isn’t "Rain Man," in which autistic gifts are presented as powers for parlour tricks – but as a prototype and a beautiful mutant, maybe even a superhero.
  15. Fear strikes out in slasher flick This movie is laced with enough gratuitous bloodshed and reactionary zeal to warm the heart of a Montana militiaman. [12 Apr 1996]
    • The Globe and Mail (Toronto)
    • 51 Metascore
    • 63 Critic Score
    Despite being sumptuously shot and competently assembled, it provides no real insight into the tortured mind of its subject or the creative process in general.
  16. It does the job just fine. That job, as director George Lucas freely admits, is quite simply to thrill the beating hearts and the inquiring minds of 12-year-old boys.
  17. Predators never gives us the satisfaction of knowing what motivates the alien hunters to use humans for sport, but at least it has fun showing us that humans can, indeed, be the most dangerous game.
  18. It's like flipping through five years of dog calendars.
  19. This is a film where there isn't the slightest doubt about the dramatic outcome. But the marketing will be a cliffhanger.
  20. Assassination Tango is about one commanding performance, fascinating to watch but not strong enough to redeem the muddled story line on which it hangs.
  21. No matter how you judge it -- as a strict morality play or simply a psychological thriller -- Apt Pupil just doesn't make the grade.
  22. Wants keenly to be hip and modern, but really it's just an old-fashioned drawing-room comedy.
  23. Ultimately, the movie is not, to paraphrase the U.S. Army slogan, all that it could be. The climax is uninvolving generic eye candy, and the sequel-friendly coda is unconvincing.
  24. Of course, the result is forgettable, but at least it's efficiently and breezily forgettable. What's more, there are laughs too and here's the best part – one or two of them are actually intentional.
  25. Once again, perhaps the most impressive effect is Patrick Stewart as Captain Picard, using his Shakespearean training to make long mouthfuls of nonsense sound almost persuasive.
  26. Poor Cattrall is caught in a script that, much like the white teddy, is an impossibly tight squeeze, obliging her to hit the farcical laughs while still playing the cellulite realism.

Top Trailers