The Globe and Mail (Toronto)'s Scores

For 4,733 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 New Best Friend
Score distribution:
4733 movie reviews
    • 50 Metascore
    • 88 Critic Score
    Guttenberg has yet to make a comedy that isn't all the more pleasant for his presence. Sheedy, meanwhile, is wholesomeness personified - almost a new Sally Field embodying the positive aspects of American willpower, energy and openness. She has talent. She has freckles. She is a star. Even robots fall for her. Badham wired this one up pretty good. [09 May 1986, p.D1]
    • The Globe and Mail (Toronto)
  1. David Bowie, flaunting a Marianne Faithfull hairdo, stars in Jim Henson's latest puppety film, the flagrantly unoriginal Labyrinth. [1 Jul 1986, p.A1]
    • The Globe and Mail (Toronto)
    • 50 Metascore
    • 25 Critic Score
    It is certainly possible that Baena is going for a deeper meaning, but even that feels like a case of indecisiveness.
  2. The script's attempt to splice together a fumbling love story with a portrait of toxic personality disorder feels incongruous, like a serving of porridge flambé au whisky.
  3. Every character is like the hyperactive rat-squirrel Scrat, and the audience is bounced around like his elusive acorn.
  4. To report that Always will make you cry is not esthetically saying much; slicing up onions has the same effect. Leslie Halliwell's one-word summation of the forties version applies to Spielberg's update for the nineties: "icky." [26 Dec. 1989]
    • The Globe and Mail (Toronto)
  5. More entertaining than Mission: Impossible or the last Bond film, Goldeneye, it brings back the humour and sang-froid that makes the genre work.
  6. Although there are definite lags here, those "glittering" set-pieces are funny enough (at least one is hilarious) to stave off any prolonged yawns.
  7. Clumsy and erratic, Lolo is a slapdash comedy of errors that slips on its own banana peel but gets few laughs.
  8. The question is, is the interspecies wrestling match really worth the ineptly acted spy antics, the big flatulence jokes and Steve-o's endless grandstanding? Not without a handy remote control with a mute button, it isn't.
  9. Not terribly funny. When it does strain for humour, it opts for Farrelly brothers-style gross-outs -- vomit and chewed food and blocked drains -- which makes the movie itself seem like some kind of undigested expulsion rather than a well thought-out idea.
  10. Despite its trappings, despite its style, Birth is just a tall tale with a short reach.
    • 50 Metascore
    • 50 Critic Score
    Having no emotional stakes leaves me cold, and leaves three cheeky actors with nothing to play. These characters are staring down death. They should be raging against the dying of the light, not going gently into their early-bird supper.
  11. More interestingly, it's also kind of sweet in a contrived and fumbling first-kiss sort of way.
  12. Last Night is a New York morality play: A film in love with (lower) Manhattan that is suspicious of real romance. What it lacks is Allen's sense of horseplay; his appetite for lunatic adventure. When you take a bite of the Big Apple, you're not supposed to nibble.
    • 50 Metascore
    • 63 Critic Score
    At once cluttered and cavernous, hysterical and static, romantic and cynical, The Zero Theorem works most effectively moment by moment and in the details.
  13. The premise (and the promise) here, of course, is that, as the miles pass, the two will be as chalk is to cheese, oil to vinegar, an apple to an orange. And indeed this is what happens. Unfortunately, it's about the only thing that happens.
  14. This is not a spoiler alert; it’s a tip: If you go to see American Ultra, stay for the credits, right to the end. They are animated and provide a mini fourth act for the film, a little action movie starring a super simian and a beautiful (human) damsel; they are an amusing addendum, but mainly they tell you a lot about where American Ultra’s heart lies, deep in comic-book territory.
  15. There is something very wrong with the attempt of Nine 1/2 Weeks to excite the sensualists and appease the moralists at the same time. Most of the sex is fairly mild, but there are hints of what Nine 1/2 Weeks must have been before Lyne was forced to recut it. [21 Feb 1986, p.C1]
    • The Globe and Mail (Toronto)
  16. Falls somewhere on that aesthetic scale between mediocre and flat-out bad.
  17. That the plot is totally stupid is Boss Baby’s saving grace. It’s the rare cartoon that actually feels like a cartoon, propelled by its goofiness and sheer energy and rarely bogged down by boring, polemical lesson-learning.
  18. Most of the cast range from tolerable to appealing (especially Molina and Pena), with a conspicuous exception. Debra Messing, as the career-driven outsider, is consistently stilted.
  19. Though Lillard's excitable tone keeps promising wild comic adventures, the sequences are uniformly flat and humour-free.
  20. This is the kind of film where the audience has to sort through the sequences, like visiting the green grocer's: liked that bit, can do without those.
  21. By the head-scratching dénouement, the "perfect" in the title seems particularly misplaced. How about Dial M for Muddle.
  22. The whole d--- thing can be summed up in three little words: yo ho hum.
  23. Though The Stoning of Soraya M.'s heart is in the right place, its head is lost in storm clouds of anger.
  24. Fur does what an Arbus photograph never would -- it leaves no room to imagine and removes any reason for doubt.
    • 50 Metascore
    • 63 Critic Score
    A political parody that is almost as ridiculous as actual American politics.
  25. Solondz has finally made a movie that isn't just offensive -- it also happens to be good. He's still shouting, still violating our politically correct sensibilities, but the shocks now have thematic purpose. They don't just titillate, they resonate.

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