The Globe and Mail (Toronto)'s Scores

For 3,940 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Player
Lowest review score: 0 Far and Away
Score distribution:
3,940 movie reviews
  1. It's all picture and no motion, as wooden as its framing. Lovely and lifeless, the result is a traditional portrait of two defiers of tradition.
  2. The art of the classic Hitchcockian thriller is about style, pace and misdirection – and though Unknown is occasionally baffling and involves running and car chases, the film rarely manages to thrill.
  3. For devotees of the genre, the bad news is the best news: Bond is back and nothing has changed except the stuntman's canvas - it's bigger than ever, duly pumped up to Schwarzeneggarian standards.
  4. This is a picture with a perfect sense of proportion: There's a mini-Hanks, a mini-Spacek and a mini-Kasdan in a mini-comedy that's minimally entertaining.
  5. Pimenthal's script consists of the scantiest storyline, framed around a succession of strained Farrelly Brothers-style gags that feel as though they were peeled off the floor of the editing room for "There's Something About Mary."
  6. Between a string of post-Friends dismal rom-coms, Aniston has succeeded in these kinds of grownup roles every few years. Here, she negotiates the character’s quirks and contradictions competently, but nothing short of a rewrite from scratch could make Cake palatable.
  7. Like a skill player who just can't score, The Damned United is all dazzle and no finish and, ultimately, damned frustrating.
  8. Aside from Jones’s broadly entertaining performance as the egotistical Supreme Commander, the movie, directed by Peter Webber (The Girl with the Pearl Earring), is a dud.
  9. Say this for I Am Number Four: It's blessedly free of any original sins. Instead, they're all copied. Here a little "Superman," there a bit of "Spider-Man," now it's "Twilight" with aliens, then it's a spaghetti western with trucks – this thing borrows more heavily than an investment bank in an unregulated market.
  10. The Paperboy is southern Gothic wallowing in the swamp of low camp. And if the wallowing were deliberate, this might have been hugely funny.
  11. 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.
  12. The problem lies with Williamson's script, which feels as if it has been torn from different places and glued back together like a ransom note.
    • 19 Metascore
    • 50 Critic Score
    Like its predecessor, Grown Ups 2 is proudly retrograde, both in its relentless deluge of toilet humour and the way it bear-hugs some good old-fashioned conservative values.
  13. This is a dumb action flick that pretends to have a brain, a spot of affectation that plunges the audience into double jeopardy -- forcing us to traipse through not just the standard litter of bloody corpses but (oh, damn) the added trash of bloodless ideas.
  14. The difficulty with the film starts with the amount of improbability one must swallow. [24 Dec. 1998, p.D10]
    • The Globe and Mail (Toronto)
  15. Pandora’s Promise is less an exploration of the subject than a well-constructed sales pitch.
  16. From the script to the title character to the direction, the watchwords here are three: Play it safe. The whole thing reeks of the formulaic.
  17. The obvious problem with The Whole Ten Yards is that it begins with the wrong kidnapping. Instead of taking Oz's wife, the criminals should have grabbed the authors of the original movie.
  18. Brüno is likely to be the funniest thing you'll see on a screen this summer. Which is precisely its problem: it's a thing , not a movie – if, that is, you believe a movie should be more than an accumulation of prankish set-pieces flimsily strung over 80 skimpy minutes.
  19. The word "arachnid," as it's said so contemptuously in the movie, begins to sound suspiciously like "Iraqi," and indeed, we soon see the elite bugs are hunkered down in their desert fortress, resisting the mighty air assaults of the Federation. The conclusion of our story involves unearthing the chief bug.
  20. It's not so much a movie as a joint promotion for the National Basketball Association and teenaged rap and adolescent poster-boy Lil' Bow Wow.
    • 22 Metascore
    • 50 Critic Score
    By the time the movie actually arrives at its finest moment – a nearly two-minute single shot from the Mustang’s hood as it chases the villain’s van through dense traffic – you’ve become so numb to speed and sensation that you may barely notice.
  21. Keen to be both really romantic and romantically real, the movie is neither, and falls between the cracks of its twin-ambitions. The result? Call it l'amour phooey.
  22. But the stuff looks like what it is -- trite imagery grafted over the narrative barrens, like a bad weave on a balding pate.
  23. 360
    To their credit, both Meirelles and his cast infuse as much realism into the artifice as they can muster, but it's not nearly enough. The too-neat script boxes them in, and leave us out. In that sense, 360 doesn't so much connect our shrunken world as strangle the life from it – the circle feels like a noose.
  24. The plot is rich, the execution poor.
    • 51 Metascore
    • 50 Critic Score
    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.
  25. Rather than invoke sympathy, the technique creates annoyance with Harris's writing: Sure, these characters may be clichés, but haven't they suffered enough?
  26. Yes, Final Destination 3 is a roller-coaster ride of a movie from start to -- well, only about 10 minutes later. The fun part is over and we settle down to watch a sadistic assembly line of characters making premature exits.
  27. An ambitious, if uneven, experimental sci-fi romance that is less a thought-provoker than a dazzling juggling act.

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