The Globe and Mail (Toronto)'s Scores

For 4,961 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Goodbye Solo
Lowest review score: 0 Extraction
Score distribution:
4961 movie reviews
  1. [Law] talks straight to the camera like the young Michael Caine, but this time our hunk has got zilch to say. That's because a bastard's candour is off-limits in today's politically correct market — it just wouldn't be polite.
    • 49 Metascore
    • 63 Critic Score
    Of Course A Nightmare on Elm Street 3: Dream Warriors is repulsive. That is its primary attraction. All right-thinking people will steer clear. But wrong-thinkers with a taste for the grotesque will be in heaven, or the nearest satanic equivalent. [27 Feb 1987]
    • The Globe and Mail (Toronto)
    • 49 Metascore
    • 50 Critic Score
    Perhaps I’ve seen one too many movies in which men who need to grow up have to wreak havoc on other people’s lives to do it. And this is that one too many.
    • 49 Metascore
    • 63 Critic Score
    A display of old-school muscle-buddy connivance that’s as flatly preposterous as it is shamelessly entertaining.
  2. Low, mean and depressingly plausible.
  3. Guess who sings tired old tune.
  4. One smart thing Green's character Ezekiel does is split from Sex Drive as soon as his two scenes are over.
    • 49 Metascore
    • 50 Critic Score
    Whether because of Madea's on-screen absence or the abilities of the two lead actors, Daddy's Little Girls is still a step up for Perry, boasting moments of charm that transcend the usual mess.
  5. If this is satire, it's the smug and self-congratulatory kind that lets the audience completely off the hook. Effective satire, the Swiftian brand, seduces us first and then implicates us in the seduction -- we become a target too. But this stuff never gets past the initial step -- it's toothless, as innocuous as the puffery it pretends to skewer.
  6. Starbuck is unapologetic genre filmmaking with a winning performance from its lead, Huard ( Bon Cop, Bad Cop), a shambling, likeable comedian who can flip, flop and fly off a diving board while maintaining his sex appeal.
  7. A masterly piece of documentary chicanery that kills George W. Bush without once pandering to his legions of ill-wishers.
  8. So what's Hanson exploring this time? His boring side, apparently.
  9. It's just a shrunken case of large-screen aspirations wedded to a small-screen mentality. [22 May 1992]
    • The Globe and Mail (Toronto)
  10. It doesn't actually explain much, throwing a bunch of names and seemingly arbitrary incidents at the screen in the hope that everyone watching the film happened to work at the Washington Post back in the day.
  11. Here's what's good about The Good German: The look is fantastic; technically, the movie is a retro marvel. Here's what's bad: The script sucks; it keeps promising to be clever, engaging, subtle and completely fails to deliver.
  12. The movie is pallid, bloated and light enough to evaporate from the mind 10 minutes after you leave the theatre. [26 May 1995]
    • The Globe and Mail (Toronto)
  13. The trouble here is that neither Bryan Sipe, who wrote this highly original script, nor Vallée, remain true to the bitter whimsy with which they began.
  14. As always in Emmerich's rollicking Armageddons, the cannon speaks with an expensive bang, while the fodder gets afforded nary a whimper. Of course, that's just part of disaster's simple recipe: Blow us up, then blow us off.
  15. Seems overstuffed and, in its own way, preachy.
  16. The Mosquito Coast is a work of consummate craftsmanship and it's spectacularly acted, down to the smallest roles (Martha Plimpton as a classically obstreperous preacher's daughter, for example), but its field of vision is as narrow and eventually as claustrophobic as Allie's. [28 Nov 1986]
    • The Globe and Mail (Toronto)
  17. By the time the last jerk on the comic premise has been tugged, you might find yourself muttering an age-ist dismissal: this Grumpy Old Man thing (or, in this case, Soggy Old Men thing) is getting kind of old. [03 July 1997, p.C3]
    • The Globe and Mail (Toronto)
  18. The tension fizzles as The Sacrament narrows into predictability, indulging every cliché of found-footage filmmaking and Jonestown-styled cult apocalypticism.
  19. Just because Body could be made doesn’t mean it needed to be.
  20. The script, based by Ephron herself on her own tua culpa memoir of her marriage, is spread wide, but the film never goes deeper into its subject - estrangement and adultery - than a bent dipstick. Heartburn is gentrified Neil Simon. [25 July 1986, p.D1]
    • The Globe and Mail (Toronto)
  21. With a curiously stubborn kind of integrity, Tron: Legacy follows what did and didn't work the first time – another weak story with sub-B-movie dialogue, partly compensated for by intensely conceived geometric design and special effects.
  22. It's no great thing, just a better Thing than expected.
  23. Americans is unimpeachable fun. Peter Segal doesn't aim high in this lampoon of U.S. presidents, but hits the target. [20 Dec 1996, p.C8]
    • The Globe and Mail (Toronto)
  24. It is at times extremely uncomfortable, but captivating and engaging all the same.
  25. Gudegast, a first-time director who wrote the script to Den of Thieves (and who has probably watched Michael Mann's "Heat" more than once) attempts to comment on humanity's complexities. But all he does with his soulless, hollow characters is make a solid case that men are violent sleazes.
  26. Halfway through, everyone starts drinking heavily and the film turns into agreeably sloppy fun. (Isn't that always the way – class reunions often perk up when someone spikes the punch.)

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