The Globe and Mail (Toronto)'s Scores

For 4,741 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Tusk
Lowest review score: 0 Independence Day: Resurgence
Score distribution:
4741 movie reviews
  1. Every stage of the race and chase is announced on a webcast conducted by the secret impresario of the illegal De Leon race, a billionaire car enthusiast known as the Monarch, who “nobody knows.” Actually, the Monarch is clearly visible in a corner of the computer screen and he’s played, with jive-spouting brio by Michael Keaton. Hey, the movie isn’t called Need for Logic.
  2. So why does Savages feel so calculated, cutesy, free of suspense and trashy only in the uninteresting sense? No doubt, Stone is trying... but it all feels more like flexing atrophied muscles rather than creating a believable experience.
    • 23 Metascore
    • 50 Critic Score
    The slapdash dialogue and smug vocal talent -- even the presence of the much-loved host of "The Daily Show" is wearying -- detract from the visual appeal of the most energetic sequences (like a raucous train chase) and what's left of Danot's designs.
  3. The less you know about Shakespeare, the more you're likely to enjoy Anonymous.
  4. Some might find it stimulating. Others will find it bonkers. Watching Jude Law do a slow-motion howl, for example, is certainly … something.
  5. In Youth in Revolt , Cera bellies up to the same table once too often. His fresh-faced act is starting to look really stale.
  6. A superior entertainment to both "RE 1" and "Alien vs. Predator."
  7. Redford hasn't moved too far here from an earlier political-thriller template: With its skulduggery, late-night meetings and the contemptuous political cabal out to thwart justice, The Conspirator can be thought of as "All the President's Men – The Lincoln Edition."
  8. Whatever seeds of social justice and emotional nuance No Escape may be attempting to sow are undercut by the film’s melodramatic valorization of family values.
  9. Here’s a date movie that will neither cozily cheer you nor satisfyingly thrill you, but instead leave you scratching your head.
  10. It’s the direction, not the script, that really kills the picture, as Mazer limps along from the chugging contest to the half-naked conga line to the car chase without ever raising the laughs he needs from the comic set pieces or the tension he needs from the dramatic developments.
  11. Snatched piles bad ideas on good ideas and lame bits of gross-out humour on genuinely funny bits of character work, without ever building enough dramatic force or comic energy to craft a full movie from the results.
  12. An unlikely Irish-Cuban co-production, Viva is, like its central subject, beautiful to look at but ultimately lacking depth.
  13. Too much diary, not enough movie.
  14. The Viral Factor is deliriously far-fetched. And one wishes director Dante Lam (The Beast Stalker) could have at least had some giddy fun smashing all his toys around. But his new film is tediously overwrought and drably made, with scenes punctuated by synthesized drums out of eighties American TV drama.
  15. Each of the actors has strong moments but the relentless intensity becomes monotonous.
  16. In a few sound bites, we get the picture and the picture's motto: the smug and selfish coast is an order of disaster-flick toast waiting to burn.
    • 41 Metascore
    • 50 Critic Score
    Jim Caviezel, as coach Ladouceur, doesn’t get much to work with, the script reducing the man to a two-dimensional motivational speaker awash in “there’s no I in Team” platitudes.
  17. Both Smith and his son are appealing presences, but The Pursuit of Happyness seems to take place in a sociological vacuum. Gardner's insight into his difficulties begins and ends with the thought that, in the pursuit of happiness, there's a lot more pursuit involved than happiness, and unasked political questions seem to dangle ominously over the entire movie.
  18. You Kill Me is not so much a bad film as one filled with missed potential and marked by the seams of compromise.
  19. None of it rings true, except perhaps the presence of an ambitious local TV news reporter (Kyra Sedgwick) who begins recording every macabre moment with relish.
  20. Pardon my pulling anthropological rank, but Instinct -- a movie about an ape-man savant -- seems a quart low on common sense.
  21. The film is not significant, but it is principled and sweetly subversive. And, like high school, if you’re not careful, you might just learn something from it.
    • 36 Metascore
    • 50 Critic Score
    It works best when it doesn't take itself seriously, and some of the ways in which ESP is faked are briefly engaging, like short con games or magic tricks revealed. But, finally, the film doesn't offer the sense of release, or of surprise, that it seems to take for granted.
  22. It is hard to know whether to applaud directors David Redmon and Ashley Sabin for exposing the underside of the fashion business – or demand they abandon their documentarian stance and rescue young Nadya on the spot.
  23. The first 45 minutes of this film feel like far too much normal and not nearly enough para.
  24. What we have here is a pretty good TV show huffed and puffed into a rather mediocre film.
    • 59 Metascore
    • 50 Critic Score
    Traditionally, Christmas movies are about the power of the holiday spirit to conquer all in the name of seasonal detente, and The Best Man Holiday, although sprinkled with bad behaviour and salty bon mots, is traditional right to the twinkly-tipped top of the tree.
  25. Perhaps for Zwigoff, directing someone else's script, this was just a job of work. If not, the talent who made "Crumb" and "Ghost World "has now made his first movie mistake.
  26. The movie is a freakish creature, with lush, painterly animation inspired by Dutch and Flemish masters, attached to a convoluted, gloomy narrative punctuated with scenes of sadism that rival "The Dark Knight."
  27. Less an adaptation of its source material than a therapeutic response to it.
  28. Handled by veteran Scottish director Michael Caton-Jones, Urban Hymn is an unimaginative drama, carried by solid acting – Isabella Laughland is chilling as the possessive, menacing Leanne – but let down by an unspectacular script.
  29. Mother’s Day is a concocted market-driven holiday, and so is this M&M’s-obsessed movie – candy for the sweet-toothed among us.
  30. As a risque children's entertainment, it's better than a street-corner dirty joke, but it's no place for adults to hang around. [17 July 1980]
    • The Globe and Mail (Toronto)
  31. Sugary but well-acted little emotional button-presser.
  32. Unfortunately, both Bridges and Anderson are only intermittently in the movie. And when they're not around, How to Lose Friends loses its satirical edge, becoming an alarmingly safe, almost corny romantic comedy.
  33. It's like an elevated form of sitcom acting, which may be inevitable because this movie, and all its quirky/heartfelt kin, are an elevated version of the sitcom itself.
  34. The trouble is that Antichrist feels progressively symptomatic of a director losing heart.
  35. The movie begins to feel more like a buffet of contrivance than a feast of love.
  36. 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.
  37. 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)
  38. A feature that suffers from the rarity of its wit yet benefits from the briskness of its pace.
    • 45 Metascore
    • 50 Critic Score
    I don't know if you have to be a surfer to fully appreciate Chasing Mavericks, but it certainly wouldn't hurt.
    • 44 Metascore
    • 50 Critic Score
    The director’s avoidance of anything resembling innovative framing or editing will probably pay off when Delivery Man eventually airs on television, where the flimsiness of its jokes and “serious” moments alike should feel less conspicuous.
  39. Though compelling in the acting and cinematography, Triple 9’s plot is by the numbers and about nothing.
    • 56 Metascore
    • 50 Critic Score
    The gradual ramping up of both the camera calisthenics and the gore quotient suggests a movie that’s been very deliberately paced, but that doesn’t mean that Afflicted really gets anywhere, except back to the very basics its state-of-the-art presentation is supposed to transcend.
  40. Watching this, we should feel an immense amount, but don't, and somehow, decades after this horrible event, that void only seems to compound the tragedy.
  41. While it's not exactly the kind of movie many will feel like catching during a holiday break, fans of the horror genre will appreciate the fresh take on a killer's hunt for fresh meat.
  42. For all the talent involved, The Eye of the Storm is an incident-stuffed but lacklustre affair – a case of lots of sturm, but not enough drang – that reaches for a satiric sting and emotional depth it never achieves.
  43. It’s all quest, flash and high action.
  44. In the end, the power of Minervini’s pseudo-fiction gives way to a much blander version of pseudo-reality.
  45. But Keaton is a mistake. He's an actor with an innate sense of irony firmly grounded in the here and now. Even as Batman, skepticism was his forte; true belief falls way outside his range.
  46. There’s a fine line sometimes, as "This is Spinal Tap" reminded us, between stupid and clever. Now You See Me wobbles along that tightrope for much of its running time.
  47. Brainless, but enjoyably over-the-top, the retro gang melodrama, Deuces Wild represents fifties teen-gang machismo in a way that borders on rough-trade homo-eroticism.
  48. Vanity: the surest road to mediocrity.
  49. Bean falls well short of a work of genius. Indeed, the unbearable slightness of Bean feels like nothing so much as a betrayal of the television series on which it is based.
  50. A sporadically amusing, occasionally off-putting French farce.
  51. All of this is accomplished with buckets of blood, but almost no sense of flesh: It's hard to recall a more sexless vampire flick.
  52. Despite an evident appetite for mayhem, however, Bay is not the right guy to produce slasher movies. Horror requires intimacy.
  53. What a disappointment.
    • 76 Metascore
    • 50 Critic Score
    Watching De Clercq dance is not only what Nancy Buirski’s uneven documentary does to best effect, it helps you understand the movie’s otherwise restrictive emphasis on the men who became obsessed by her, primarily her discoverer and husband George Balanchine and the dancer/choreographer Jerome Robbins.
  54. Hergé was the pioneer of an even-handed style of cartooning with solid lines and no shading that became known as ligne claire, but there is a decided lack of clear lines in this erratic movie adaptation of his work.
  55. Playing characters familiar to the fans, we have William Hurt as a blustering general, Tim Blake Nelson as a kooky scientist and Tim Roth as an evil soldier who morphs into a monster. All of them seem to be directing themselves.
  56. It's a comedy, it's a romance, it's a gangster flick. The Cooler is all of that and much, much less. This is a movie without a compass, switching pace and direction as haphazardly as a caffeinated SUV driver on a cellphone.
  57. The Notebook is meant to be a romantic weepy, and you will shed tears - but only from the consistent and exhausting effort of trying to control your gag reflex. Even a body that welcomes a sugar fix will repel a sugar invasion.
  58. Of course, the result is forgettable, but at least it's efficiently and breezily forgettable. What's more, there are laughs too and here's the best part – one or two of them are actually intentional.
  59. The movie becomes an American salute to military patriotism, anybody's military patriotism. Think of it as "A Few Good Reds."
  60. 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.
  61. A Perfect Day, the first English-language feature from the Spanish director Fernando Leon de Aranoa, is in many ways a remarkable film: a taut, darkly comic drama about the dilemmas of international intervention in civil war, all of it neatly symbolized by one elusive length of rope. It is also, sadly, a film much marred by its sexism.
  62. Was it worth slogging through the nearly two hours of damned muddle to get to those last affecting moments? Not often in movies is the destination so much better than the journey.
  63. As anodyne as it is, Timothy Green may represent the last gasp of a genre, the live-action family fable, that has been an entertainment staple for a couple of generations of moviegoers.
  64. Identity opens with its mind nicely intact, suffers a major crisis about 30 minutes in, then bad turns to worse.
  65. Max
    The whole film occupies pretty much the same continuuum -- glimmers of intelligence followed by moments of outright hysteria punctuated by bouts of sheer haplessness.
  66. Dorothy's friends are as weird as her enemies, which is faithful to the original Oz books but turns out not to be a virtue on film, where the eerie has a tendency to remain eerie no matter how often we're told it's not. [22 Jun 1985, p.E3]
    • The Globe and Mail (Toronto)
    • 53 Metascore
    • 50 Critic Score
    There is a rich movie to be made about this culture of fake seers and gullible marks, but it isn't The Awakening, a dull British import that never lives up to the pretensions of its period setting.
  67. Although director Taylor Hackford ("An Officer and a Gentleman") handles the usually cumbersome flashbacks with impressive delicacy, he can't stop the narrative from sinking under its own melodramatic weight.
  68. Dirty Girl isn't. Sorry, but it's just faux grime, a thin layer of bad behaviour that wipes clean with a two-ply tissue to reveal the real movie beneath – all shiny sentimentality.
  69. Not only is The Village not credible, its shallowness makes it dislikable, a shopworn gothic plot focusing on stereotypical characters with disabilities, with no ambitions beyond playing a simple-minded audience head game.
  70. The updated Dickensian sensibility of writer Craig Bartlett's story is appealing.
  71. It goes without saying that the American public’s relationship to the NSA has changed dramatically since the first xXx movie in 2002 – a sea change that this film seeks to play up – but the script, written by F. Scott Frazier, doesn’t quite know what to do with its critique of the NSA’s unchecked power.
  72. Sorry to disappoint anyone who saw the cast list of this film and presumed Julie Andrews was going to play the horrific serial killer Tooth Fairy from the Hannibal Lecter movies.
  73. 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.
  74. Here, one begins to suspect that the major impediment is the sensibility of the filmmakers themselves. They don't believe in this stuff, in its unavoidable sentimentality, and that attitude filters down to a perplexed cast.
  75. A botched adult romantic comedy that strands its leading player, and its audience, in a wearying, sitcom-slight battle of the sexes.
  76. As limp and cold as The Founder is as a movie, it contains one of the finest Keaton performances of his entire career, maybe the one he’s been working his whole life toward.
  77. This bare-bones adaptation is more of a sop to the musical’s fans than a fully imagined movie musical.
  78. This movie is about the opposite of political correctness. It's about rooting for the bad guy and the black ending, and shouting at the screen whenever you feel like it. If you like that sort of thing, go see it. If you don't, then don't.
  79. The whole thing has all the spontaneity of high-school morning announcements.
  80. A contrived and tepid thriller that insists on wanting to interest us in its main plot -- the usual nefarious plan to assassinate the leader of the free world.
  81. Amelia is the Mack truck of flight. Heavy and lumbering, it delivers the goods, but there's not an ounce of magic in the thing.
  82. Expected too is the result: a kind of sterile opulence or, if you prefer, a magnificent emptiness.
  83. I doubt that Lawrence is conscious of this process. Nevertheless, stuck in a dull commercial feature, a very good actor happens upon a new solution to an age-old problem: She improves the script by transcending it, and steals the picture by abandoning it.
  84. Audiences can watch any number of similarly talented comics on late-night television or, even better, get close to the action at a downtown comedy club.
  85. All dull thunder without a spark of illumination.
  86. A big, bloated, though frequently engaging gangster movie, Kill the Irishman should properly be viewed late night on TV, flipping back and forth between the film, David Letterman and a west-coast ball game.
  87. In keeping with the purloining spirit of sequeldom, Woo plunders his own past. [24 May 2000, p.R1]
    • The Globe and Mail (Toronto)
  88. Sitcom star Harris puts his smart-aleck chops to good use as Patrick Winslow.
  89. Lawrence isn't nearly as adept at romantic comedy as his stars. His rushed jokes and insensitivity to tone are yet more sad reminders that the genre is an endangered species not because we lack new Hepburns and Cary Grants, but because there are no more George Cukors.
  90. Holy Man sure isn't raucous; instead, in the main, it's just quietly unamusing.
  91. A fine, solid cast and fully exploited settings cannot make up for the by-the-numbers screenplay, which is filled with all-too-convenient plot points.

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