The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,924 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Before Sunrise
Lowest review score: 0 Far and Away
Score distribution:
3,924 movie reviews
  1. Destined to disappear into the quicksand of time, too innocuous to be hated, too bland to be remembered, just awaiting some bright optimist in a distant future to press the do-over button.
  2. The result is less a screenplay than a manic quote machine.
  3. It would be easy to dismiss Celebrity as merely a wafer-thin picture about the wafer-thinness of our narcissistic culture. But the truth is shallower and even less engaging -- this flick should have been called “Unpleasantville.”
  4. It's really a lazy comedy that is content telling a crude and corny Hollywood story with a Mexican accent.
    • 42 Metascore
    • 50 Critic Score
    Crooked Arrows is no "Rocky." It lacks the emotional momentum required for that. But if it's just light, family-friendly entertainment you want, Crooked Arrows fits the bill.
  5. The only effect is to produce that most commonplace of Hollywood paradoxes -- a mood simultaneously frantic and listless.
  6. This is one of those ludicrous, semi-offensive, semi-entertaining potboilers that feels as if the script were dragged out from someone's naughty-book stash.
  7. The one source of relief comes from the score -- a sampling of period ditties by the likes of the Rolling Stones, Bob Dylan, Janis Joplin and Neil Young.
  8. Prime seems aimed at prime-time television, with endless iterations on the same theme of "frustrated relationship" that will finally get resolved during sweeps week in the season before cancellation. Call it: My Mama, the Shrink.
  9. World-weariness is not really the energetic star's best driving gear. Nor are declarations of menace intended to identify Jack Reacher as a modern-day mythic avenger. When he tells an enemy, through his clenched choppers, "I mean to beat you to death and drink your blood from a boot," the effect is, unintentionally, popcorn-spitting funny. Talk about overreaching.
  10. Fitfully interesting, occasionally cringe-worthy, this is the sort of stagy production that mixes ribaldry and campy overacting that evokes summer theatre productions.
  11. For the better part of this movie, Elektra appears to be a sensible, stylish young superhero.
  12. This feeble documentary ends up perpetuating the very hypocrisy it means to probe.
  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. LawAbiding Citizen smells a bit musty these days. Indeed, in an era when the debate has shifted from too little state vigilance to too damn much, this thing seems almost quaint.
  15. Unlike "Microcosmos" (all insects) and the acclaimed nature doc "Winged Migration" (all birds), Genesis is bogged down by its intentions and too vast a "cast."
  16. Winterbottom's efficient yet prosaic approach is evident from the first grimy frame. [18 Oct 1996]
    • The Globe and Mail (Toronto)
  17. The film, shot in black-and-white at canted angles, suggests an R-rated Twilight Zone episode with a twist of Fellini-lite, in a trite film school kind of way. Mickey Mouse is unlikely to be shaking in his big yellow shoes.
  18. The sickly feeling that Body of Lies leaves at its conclusion isn't just about the brutality of its subject; it's the realization that real-life barbarism translates so easily into adrenaline kicks for the multiplex.
  19. Like its predecessors, Under the Sea is family-friendly viewing -- the great white shark swims by, as opposed to tearing prey to shreds. Its goal is to show biodiversity and offer information on how reefs grow, reminding us of threats to these environments.
  20. Throughout, Wilson and Byrne play these parts straightforward and there's an undercurrent of real anguish in the struggle of parents coping with a child's long-term care.
  21. For a screwball comedy, it takes a long time to wind up, and Kline's Frenchman is an outright cartoon. But Ryan manages to hold attention. [6 Oct 1995, p.C2]
    • The Globe and Mail (Toronto)
  22. Whatever glimmers of cleverness Martian Child offers, it all comes to Earth with a thud in the shamelessly manipulative climax.
  23. In the end, this tale of human decency fails to make you feel enough.
  24. View the Second World War through a child's eyes and the result isn't hard to predict: a loss-of-innocence tale. Winter in Wartime is the boilerplate version, with the already dramatic facts of the era ramped up to melodramatic levels. Little wonder it rings so false.
  25. The stunt work is top-notch; the dialogue and drama often food-spittingly funny. I can hardly wait for Extreme Ops II, perhaps set atop a South Sea island volcano, with North Korean agents and parasailing.
  26. There's something here for everyone to dislike - the whole clan can have fun making fun of this thing.
  27. Plays it a little too safe and hackneyed with the comedy, but the characters and the talented actors who play them are a refreshing change of pace that make the movie feel like a minor buddy-comedy revolution.
  28. It uses violence as a drug, injecting it into the audience and hoping to addict it. Once the dependence is created, it is simple to feed it with formulaic films.
  29. There must be something about the thriller/horror genre that attracts writers with exactly the same dysfunctional tendencies: They're all great at the foreplay but keep on messing up the climax.

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