The Globe and Mail (Toronto)'s Scores

For 4,909 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 Goodbye Solo
Lowest review score: 0 Coming to America
Score distribution:
4909 movie reviews
  1. The movie is nothing if not anxious to please. There's a big, diverse, celebrity voice cast – Maggie Smith, Hulk Hogan and Dolly Parton as well as Caine and Osbourne.
  2. Stay is all dressed up with no place to go, an eye-popping exercise in lavish style unattached to any discernible content.
  3. If Jobs had been a producer on Jobs, he would have sent it back to the lab for a redesign.
    • 60 Metascore
    • 50 Critic Score
    If you call your movie this, you’re kinda asking for it. Some rules should apply. For example, characters should make a little sense, so when they behave in “unpredictable” ways, we can tell. But Warren Beatty, back in the director’s chair after 18 years, has gone rogue.
  4. RSVP: Decline with regret.
  5. Unlike the smarter "Maleficent," a revisionist Sleeping Beauty created by the same producers, what The Huntsman series lacks is any intriguing psychology.
  6. Most of this is blandly palatable, at least for the first half. Cyrus, though she seldom strays from her two primary modes, pouting rebel or toothy girlfriend, has a winning on-screen presence, if only for her enjoyably abrasive edge in this deep well of pathos.
  7. 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.)
  8. While Lawrence doesn't come close to the fireworks wit and satire of Pryor in his postfreebase-accident film, "Live On The Sunset Strip," his riveting story saves Runteldat from becoming just a routine slapped on the big screen.
  9. So, fans, gear up for rock-em-sock-em action, yet don’t be disappointed if much of the goonery seems a bit tepid and, dare I say, staged.
  10. Park is busy treating every frame like a runway model, dressing it up in self-conscious layers of cinematic haute couture. It’s gorgeous to gaze upon but otherwise dessicated – listless, juiceless and ultimately pointless. For all his exemplary camera work, there’s no motion, or emotion, in the picture.
  11. This time, Tykwer somehow manages to turn Eggers’s attempt at an era-defining story into a weird little cross-cultural comedy with romantic overtones while remaining largely faithful to the original plot and dialogue. Here, globalization’s economic devastation is just a nice backdrop for some amusing – and, thankfully, inoffensive – observation of one American abroad.
  12. The effect of so much pretension and so many lovely images eventually becomes soporific.
  13. Though by no means a good movie, The Internship floats along for fairly well for about half its length, thanks to the easy interplay between the two stars and a certain melancholic topicality.
  14. Damned if this sugary confection doesn't come with a creepy crust. the odd sense that these aging boomers, ever eager to stall the march of time, are competing with their own daughter in the maternity sweepstakes - I'll see your child, and raise you one. [8 Dec 1995, p.C1]
    • The Globe and Mail (Toronto)
  15. The problem is not that the director is working but that his latest film is working too hard. Way too hard – this thing is melodrama running a marathon.
  16. If you have kids who are easily frightened, bring them to Alpha and Omega, a 3-D movie with training wheels. Kids may not like it, but they'll never fall off the ride.
  17. This is the reliable raunch-plus-sweetness comic formula that goes back through the Farrelly brothers, Adam Sandler's comedies, "Revenge of the Nerds," "Porky's" and "Animal House."
  18. Unfortunately, The East is not a very good movie, hobbled by an excess of plot, a lack of believability and big gaps of logic.
  19. A tart-coated sugar pill of a movie.
  20. Washington's take on the seductress is so saucy, so unapologetic, such a brash blend of insouciant charm and raw sex appeal, that she swipes the picture from right under its nominal star. The only problem is that her theft inadvertently tips the balance of the moral dilemma, shifting it seismically all the way from "He'd be a fool to succumb" to "He'd be a coward not to."
  21. This material might make for a sly, subversive take on the genre, but writer-director Tyson Caron positions Dash as the hero of his story, a fatal flaw.
  22. It is a paint-by-numbers Holocaust movie, scrupulously balanced, always cautious, occasionally clichéd, often sentimental.
  23. Jawbreaker breaks ground in one way. The movie is notably unpleasant, not just because it's morally offensive, but because it strives for this arch, artificial John Waters tone without any accompanying pay-off in wit.
  24. This entry has been described as a “cousin” to the other movies. Specifically, The Marked Ones is a Hispanic cousin, customized for Latino audiences in the United States where the series is particularly popular.
  25. A splatter of scenes that relocate the funny-bone in the lower anatomical regions -- sometimes hitting the mark, occasionally a glancing blow, often missing completely.
  26. Guy Ritchie's Holmes reboot feels both too complicated and too elementary, dear Watson.
  27. While it’s fine for a director to explore his childhood inspirations, you hope he would bring something a bit more personal to it. Instead, Jack the Giant Slayer, while well-crafted, feels entirely generic.
  28. It’s been not so much remade as restrained – tamed and dumbed-down and with any sharp political edges safely filed off.
  29. While Tom Tykwer's lavish and lively screen adaptation of Perfume: The Story of a Murderer is certainly not a stinker, there is something decidedly off about it.
  30. More than merely stale and dated, Hollywood Ending seems lazy and careless -- the structure is loose to the point of crumbling.
  31. In its component parts, then, Love Liza is essentially a battle between opposing clichés.
  32. Lewy’s script doesn’t cop out with any sentimental redemption, but neither does it establish why the self-destructive Lachlan deserves our sympathy.
  33. As a statement on capitalism or anything else, Capitalism: A Love Story is often embarrassingly simplistic, self-contradictory.
  34. A football story that deserves a penalty flag every other play for piling on the sentiment.
  35. If the title is half-familiar, the contents are wholly surprising. Happily, all of the bitterness is gone. Sadly, so has most of the humor. What remains is a conclusion startling but unmistakable - Woody Allen has grown bland. [16 July 1982]
    • The Globe and Mail (Toronto)
  36. Queen Latifah's energy may be winning and her self-reliance message righteous, but Last Holiday grossly overextends her credit
  37. The film is primarily an excuse for Chase to demonstrate that though he may be a movie star he has yet to learn how to create, let alone sustain, a character, and for director Harold (Caddyshack) Ramis and screenwriter John (National Lampoon's Class Reunion) Hughes to demonstrate that some movie stars get the colleagues they deserve. [2 Aug 1983]
    • The Globe and Mail (Toronto)
  38. If you're looking for a screwball comedy about bipolar disorder -- and who among us is not? -- then this picture fits the bill fine. However, if you're picky enough to want a good screwball comedy about bipolar disorder, well, I'm afraid the wait continues.
  39. The movie never actually gets to winter: The title is just a clumsy play on the family's surname.
  40. Yes, it's up to the older generation to provide the comedy here, and they do it fairly consistently, with the delicious Christine Baranski carrying most of the movie as Amy's mom.
  41. Director Rob Reiner is betting that their star power alone will blind us to the holes in this cheesecloth of a script. It proves a fool's bet – no star shines that brightly.
  42. Conducting another symphony in action, Spielberg seems a bit bored – always competent but never inspired – and who can really blame him? He tries to fire his interest by swiping a few tropes from the fifties pop bin, not-so-sly allusions to teen-trash movies and those McCarthy-era horror flicks. After that, there's really nowhere to go but inwards, which is when Spielberg starts looting Spielberg.
  43. In what's meant to be a French take on "The Big Chill" - comedy meets pathos as friends gather at a country house in the wake of a tragedy - writer-director Guillaume Canet has wrought a meandering script that exercises everything except restraint.
  44. Speaking of funny things, director Todd Phillips has been down this path before in "Road Trip." There, toiling in the same lame genre, he actually showed a hint of comic ingenuity. Here, the hint has dwindled to a hoarse whisper.
  45. More ambitious, but also much harder to swallow than the average Hollywood hack effort, In the Cut is a muddle of thriller and art-house phantasmagoria.
  46. The movie is like a glass of Sprite that has been left on the counter too long: transparent, sweet and flat.
  47. To her credit, Nadda is a solid actors’ director – the performances here are competent even when the writing isn’t. The exception is South Africa which, although a logistically necessary shooting location, ain’t much of a thespian.
  48. It's an action-comedy. It's in 3-D. There's a video-game tie-in. Throw in a fluorescent Slushie from the candy counter and your eight-year-old will be in heaven.
  49. This is a flick whose failures are at least as interesting as the successes.
    • 53 Metascore
    • 50 Critic Score
    Even though William Safire doesn't fit in the target demographic, Stick It is more valuable as a survey of modern American teen argot than as a movie.
  50. Owen Wilson cries, but audiences will more likely roll their eyeballs at writer-director Stephen Chbosky's outrageous emotional manipulations.
    • 55 Metascore
    • 50 Critic Score
    One wishes the makers of Pride had stuck with non-fiction, because their movie reduces Ellis's story to the level of generic sports-flick hokum.
  51. A furious 90-minute trailer of a movie that exceeds the speed limit for action films established by Quentin Tarantino's recent "Grindhouse."
  52. Periodically, thanks to the 3-D, a long and pointy object emerges from the screen, threatening to impale the viewers through their eyeballs, enhancing the movie's guilty pleasure by reminding us that we, too, are made of vulnerable flesh and bone.
  53. The plot is squeezed dry in this bloody Valentine from Hollywood and becomes annoyingly predictable. Thriller stumbles on its own success
  54. There’s plenty of shimmying here, maybe too much, and lots of spin moves, but it’s missing on-the-field results.
  55. As beautiful to look at and as emotionally disconnected as its central character.
    • 59 Metascore
    • 50 Critic Score
    The Karate Kid is too long and lyrical, with several tedious scenes between Macchio and Morita as youth and experience. Avildsen is sometimes unsure whether he wants to be tough or forgiving, and the film has a big build-up for the fight scene, but an ending so abrupt it downplays the outcome. [22 June 1984]
    • The Globe and Mail (Toronto)
    • 53 Metascore
    • 50 Critic Score
    So if you're in the mood for a scary flick, the kind where people can't resist going into the huge hole in the wall where the family Pekinese just disappeared to the sounds of being masticated, this is the one.
  56. Without warning, the picture falls hard into the very trap it had so studiously avoided, the one marked Expensive Gimmick... The same feature that begins like no film you've ever seen ends like every cartoon you've always avoided.
  57. Like Frankenstein's monster before the lightning strikes, it's all recycled cold flesh and bolts, without a twitch of originality.
  58. To wit, stick that camera down an aquatic cave, wrap a paper-thin plot around it, slap the whole thing up on an IMAX screen and call it a movie. More truth in advertising: Call it a lame movie.
  59. Director Joel Schumacher has pulled no mawkish punches, wringing every drop of emotional potential from the script (adapted by screenwriter Akiva Goldsman from John Grisham's popular novel) down to the last manipulative glance and close-up. Call it A Time to Overkill.
  60. Approximate time spent laughing: 30 seconds or fewer.
  61. As with so many movies where the script constructs experiences that are contrived and off-putting, you hope the actors can capture the emotional truth of some scenes, even if the entire apparatus feels bogus.
  62. Like a tone-deaf singer at a benefit concert, John Q. is a bad movie appearing on behalf of a good cause.
  63. Piranha 3D is more funny than disgusting, even when screen fills with half-nude swimmers, bobbing like human dumplings in a roiling vat of borscht. This isn't just sick, it's clas-sick!
  64. Fans of Allen, the comedian, will be glad to hear there are more chuckles here than in his last film, "Bullets Over Broadway." Fans of Allen, the plot craftsman, will find a lot less discipline and imagination in the writing. In truth, Mighty Aphrodite is mighty slight.
  65. It is almost as if Gibson is daring his audience to turn away from his opera of barbarity – but perversely, his violence is the only compelling element of Hacksaw Ridge. Perhaps ironically for a war film, the rest of it is mostly a draw.
  66. Friedkin has huffed and puffed and blown up a single chase sequence into the whole damn movie. You got your hunted, you got your hunter, and away they go. And go and go.
  67. As angst-filled as if it were "Amadeus" and "Lust for Life" rolled into one.
  68. The real weak point is Reiner's listless direction, with too few scenes that almost gel and too many that fall flat.
  69. History repeats itself, the first time as tragedy, the second time as farce, Karl Marx said. That might explain the possibility of even making a movie such as Stuck.
  70. Near the end of the movie, Django jokes that, after the protests, people may still not know what the WTO is, but "they know it's bad." That's a fair summation of how much insight Battle in Seattle provides for its viewers.
  71. The tale is about meeting Death and comes with this moral: When The End arrives, better to embrace it with love than to try to cheat it with avarice. Hey, if nothing else, Part 1 has got some nerve, so greedily refusing to practice what it earnestly preaches.
  72. This story soon turns excessively maudlin.
  73. The movie espouses a kind of Unitarian ecumenical egalitarianism that has about as much to do with medieval times as quantum physics. No one should be offended except -- of course -- those who like movies that excite the mind as well as the pulse.
  74. But don't worry about remembering the characters - the movie certainly doesn't.
    • 50 Metascore
    • 50 Critic Score
    Sadly, the movie’s lack of a clear identity – is it a thriller, soap, legal drama or action chase movie? – makes it difficult to understand why anyone should care.
  75. The Good Girl isn't really the title of this movie at all. Instead, it's now widely known as The Movie That Proves Jennifer Can Act.
  76. 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.
  77. The humour in Accepted is maddeningly safe.
  78. 21
    What a big cheat of a movie. Wanting to be everything to everybody – a tough gambling picture, a revenge-of-the-nerds fantasy, a Vegas caper flick, a sweet little romance, a simple morality tale – 21 is just a bet-hedger dealing from multiple decks, designed to leave you with an occasional tidbit to like but nothing at all to love.
  79. The main interest here is the acting, which is, by turns, entertaining or just entertainingly bad, with lots of grungy seriousness and Method-trained twitching, but also some moments of real gusto.
  80. Credit Madagascar with negotiating a hopeful truce in the ongoing battle between the computer and the animation. Judged merely by appearances, its look is a lovely compromise. Too bad everything else has been compromised right out of existence.
  81. Broadening the original script out to a cinematic thriller of the prey-and-predator variety, Dolan’s direction is not imaginative enough to carry the day.
  82. Although possessed of a laudable desire not to be yet another run-of-the-mill, wacky-impediment, I'm-nobody-and-you're-the-Prez's-daughter romance comedy, damned if the picture can figure out how to be an anti-romance comedy.
    • 48 Metascore
    • 50 Critic Score
    The presence of some genuine feeling distinguishes Saw III from its predecessors. That said, it has plenty of the blood, torture and dismemberment that moviegoers demand from their Halloween weekend entertainment.
  83. Writer-director Tommy Lee Wallace is not, as can be gathered, a born auteur, but he is crafty at timing the jumpies - despite a silliness that increases as the movie goes on, there are enough left-field shocks to please even the most discriminating fan of what American Film has dubbed the "genre non grata. [25 Oct 1982]
    • The Globe and Mail (Toronto)
  84. Without Christopher Plummer, All the Money in the World would be an absolute bore.
    • 36 Metascore
    • 50 Critic Score
    Sadly, Bacon is only intermittently convincing as a man hell-bent on revenge or a father tortured by what he has unleashed on his family.
  85. It's refreshing to have a movie assume that its viewers are also readers, yet this one takes that assumption to testing lengths. To those fearful of flunking the test, my advice is simple: Bring along the book as your cheat-sheet.
  86. 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.
  87. It's odd, how these high-concept films, knowing that the central gimmick has a way of wearing out its welcome, are all so short – a mere 84 minutes in this case. Why odd? Because short always ends up feeling so damn long. This is no exception. Quick to start and painfully slow to finish, Chronicle is the same old chronicle.
  88. Alas, the news is mixed: Thor ain't much of a movie but it's a great career move. Both movie and move belong to director Kenneth Branagh.
  89. Directed by veteran "Chariots of Fire" filmmaker Hugh Hudson, the semi-compelling Finding Altamira is let down by ordinary acting, way too many scholarly adages and a perplexing level of inaction.
  90. The only surprise here is the real star of the show, who turns out to be not Halle Berry, not even Bruce Willis, but a flat computer screen in all its hard-driven glory.
  91. In the original Jumanji, young characters are caught inside a board game come to life; in the new sequel, it's a video game they adventure within – a rigid construct of one-note humour, special-effect shenanigans, relentless quest-based action and sledge-hammered messaging.
  92. Thanks to a tight script and brisk pacing from director Steve Carr (Daddy Day Care, Dr. Doolittle 2), there's little fat in Mall Cop, save the a yawn-inducing parade of fat-guy jokes.

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