The Globe and Mail (Toronto)'s Scores

For 4,469 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Moonlight
Lowest review score: 0 War Room
Score distribution:
4469 movie reviews
  1. Unfortunately, Hysteria is much closer in its effects to a more significant and much larger 19th-century invention. Like the locomotive, this costume drama proceeds noisily and methodically toward a destination that is agreed upon from the outset. Good orgasms and good movies generally offer surprises; good trains do not.
  2. Listlessly directed by Julie Anne Robinson (Miley Cyrus's The Last Song) from a script written by a trio of writers (Stacy Sherman, Karen Ray and Liz Brixius), One for the Money is tepidly glib throughout.
    • 34 Metascore
    • 25 Critic Score
    Only adults with 'Smurf-holm syndrome' could love this film.
  3. Frankly, about 20 minutes into this dud, I was rooting for the alien beasties -- their diagnosis seemed dead-on.
    • 60 Metascore
    • 25 Critic Score
    And yes, the super effects are fantastic. But overall, Ra.One fails to impress.
  4. Essentially a slapstick movie with no plot or -- as my boyfriend called it after recovering from 1½ hours of side-splitting laughter -- "the ultimate big-screen TV experience."
  5. A rip-off and a rerun.
  6. Every character is like the hyperactive rat-squirrel Scrat, and the audience is bounced around like his elusive acorn.
  7. 2 Days in New York plays like 2 years in Attica. You don't watch this movie so much as serve it out, a light comedy doled out as a heavy sentence.
    • 27 Metascore
    • 25 Critic Score
    Tedious, baffling and ultimately laughable.
  8. Any hope that the clever concept behind Risen might produce a clever movie is thrown to the ground, where it lies quivering for the next hour or so, before expiring noisily in the film’s second half.
  9. The film can't be accused of taking itself seriously. Shot in 3-D, with lots of choppy action, a rudimentary plot, and plenty of CGI-shape-shifting, it comes in at a brisk, disposable 88 minutes.
  10. Underneath all this mess there is some idea about the conflict between private love and public duty, between personal interests and those of the state, but the characters are so marginally observed by both the actors and the script there is no tension in the themes.
  11. After 90 minutes of diligently searching the premises of ACB2, no evidence of mass entertainment can be found. Recommend cancellation of all future similar missions.
  12. Classic style over substance, with some gruesome-looking creatures and settings and non-stop shooting and biting (both the vampires and werewolves get their teeth into it). But, alas, at almost two hours, it is much ado about nothing.
  13. Within this bloated fantasy hodgepodge, there are few grace notes: In the role of the creepy fortune teller, Madame Dorothea, CCH Pounder is evil fun. And a few special effects, including a Rottweiller who turns into a skinned hellhound, leave an impression. Otherwise, Mortal Instruments manages to occupy 130 minutes of frantic, numbing, activity.
    • 37 Metascore
    • 25 Critic Score
    P2
    A pointless thriller.
  14. It is sincerely, painstakingly and astonishingly awful.
    • 35 Metascore
    • 25 Critic Score
    An achingly sincere but often staggeringly inept attempt to introduce Walsch's message to movie audiences.
  15. Because the society in Menace II Society is boxed in sociologically, the picture (for all its strengths) is boxed in esthetically. Already, this genre is beginning to seem as much a victim as the victims it portrays.
    • 30 Metascore
    • 25 Critic Score
    A film like Endless Love comes about as close to reality as a Hobbit sequel, only without a single dragon to remind impressionable viewers that they might not want to take it literally.
  16. The best part of Jonah Hex is Josh Brolin on a horse. Especially when he's not saying anything, just moseying into or out of town. Too had he never moseys into a better movie.
  17. If plots were people, this obese thing would be cuing up for liposuction. Mr. Brooks may well boast the greediest yarn in the annals of filmdom. One serial killer just doesn't cut it – no fewer than four, actual and potential, pack these frames.
  18. An unholy mess.
  19. One of those non-stop jabbering cartoons in which most of the lines sound like the spontaneous riffs from a couple of comics sitting around a diner.
  20. Ironically, the only good thing about Never Die Alone is its rap-retro soundtrack (God bless Curtis Mayfield!). Otherwise the film is so full of crap they should name a Port-a-San after it.
  21. This is a film whose sunny and insipid storytelling style is at odds with its material.
  22. The refined taste insists on risibly bad, on hysterically bad, on poke-your-seatmate-in-the-ribs bad, and this falls well short of that hallowed mark -- it's just routinely bad.
  23. Will she give up? Or will she fight? Ah, who cares. Sharknado isn’t Shakespeare and The Shallows isn’t deep. School’s out, schlock’s in – no lessons here.
  24. The only pressing burden in this deep interior world is the question: What in or on Earth is a cast this good doing in a movie this ridiculous?

Top Trailers