The Globe and Mail (Toronto)'s Scores

For 5,019 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 While You Were Sleeping
Lowest review score: 0 Extraction
Score distribution:
5019 movie reviews
  1. When the tent folds and the dust settles, the question is not whether the movie is good – sorry, not a chance – but whether it's garish enough, sappy enough, Hollywood enough to rise to the level of being likeably bad. Is it, in short, a guilty pleasure?
  2. It’s a goofy, confusing mess of a sequel, a cautionary tale of what happens when a filmmaker lives too long inside his own franchise to realize that no one takes it nearly as seriously as he does.
  3. By the film’s end, one can’t help thinking that the story would be better served by a well-researched documentary on the real-life MFAA division (monuments, fine arts and archives.)
  4. An action thriller with some decent action and a few thrills, but all embedded in a yarn so hopelessly tangled that even the loose threads have knots.
  5. Rudderless is humane and almost entertaining. A crucial late plot development disrupts the predictability, instigates a third act and provides reason for watching.
  6. This is the stage experience documented on film, from the perspective of someone sitting front row centre watching actors pitching for the back rows of the balcony.
  7. This is a comedy at cross-purposes -- by turns low-key, bombastic, mildly amusing, manically slapstick. At least there are the fart jokes as a connecting thread.
  8. Though compelling in the acting and cinematography, Triple 9’s plot is by the numbers and about nothing.
  9. Engrossing and not too sugar-sweet, Meghie’s movie is slightly paranoid, surprisingly fantastical and superb at translating the overwhelming stupor of first love with big, bold shots and a banging soundtrack.
  10. There’s a worrisome failure of imagination at work in the title of this movie. It’s actually hard to imagine a more generic title. But at least it’s succinct. It rolls off the tongue much better than Movie That Feels Not So Much Inspired As Engineered According to Conventional Animated Kids’ Genre Requirements.
  11. While both the scenery and star Diane Lane are highly watchable, the movie is pure froth, a plate-sized helping of zabaglione.
  12. Too silly to be taken seriously, it's not silly enough to overcome skepticism.
  13. This picture breaks through the limits and goes way beyond the pale -- it seems to enjoy irking us for the sheer hell of it.
  14. Great pictures are seamless; in this one, you can not only see the seams but count the stitches.
  15. A movie with a double-crossing intelligence plot that's so generic it's an irritating intrusion in a lively chase through the streets and shantytowns of Cape Town, South Africa.
  16. It’s a shame that two gifted comedians weren’t given better material to work with.
  17. Even with dyed hair, heavy makeup and a cigarette dangling from her bottom lip, Portman still looks like a schoolgirl pretending to be somebody's mom.
  18. I can’t pardon Labor Day’s mush, not just because it’s mush, but because it comes with an unappetizing side order of condescension and contempt.
  19. Sincere performances and the beautiful gold-and-grey Donegal landscape can only go so far in A Shine of Rainbows, a family film that risks drowning in its own syrup.
  20. Elevated to some vague level of importance, not on merit but by circumstance.
  21. Though this RoboCop can’t come close to capturing the clever-silly audacity of the original, one area in which the current film easily surpasses it is in the quality of the cast.
    • 52 Metascore
    • 63 Critic Score
    Beautiful to look at, the film showcases Côté’s talents at building tone and theme through images and sounds.
  22. Filmmaker Evan Jackson Leong, who began following Lin when he played for Harvard, also emphasizes the importance of Lin’s tight bonds with his family and the importance of his evangelical Christianity (“I only play for God,” Lin says).
  23. What promised to be a teen screwball comedy with a supernatural twist soon descends into special-effects overkill and camp acting from the overqualified supporting cast.
  24. It’s only mildly entertaining, never funny enough nor smart enough to summarize the cultural moment in the manner of a "Working Girl" or "The Social Network."
  25. In a wink to Canada, the most urgent emotion is a throwaway bit in the movie when they bicker on whether to call the board game’s plastic scoring piece a wedge, cheese or pie, an indelible argument for the ages.
  26. Remove the comma from the title and Love, Marilyn plays like the command it is.
  27. Once again, Candy does his slob-with-a-heart-of-gold number. He's good at it. He can be a funny fellow. He can even carry a mediocre picture all by his lonesome, squeezing a lot out of a little. What he can't do is squeeze that much out of this little. [16 Aug 1989]
    • The Globe and Mail (Toronto)
  28. A demanding blend of spectacle, drama and exposition of ideas.
  29. Between the swash and the buckle, Reynolds comes up completely dry - the connecting scenes lack any rhythm or pace. And Costner looks every bit as uncomfortable as he sounds - the British actors, especially Rickman, blow him off the screen. [24 June 1991]
    • The Globe and Mail (Toronto)

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