The Globe and Mail (Toronto)'s Scores

For 4,826 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Manchester by the Sea
Lowest review score: 0 Dead Man on Campus
Score distribution:
4826 movie reviews
    • 48 Metascore
    • 38 Critic Score
    By throwing herself headfirst into scenes that a more cautious actress might beg off, Green earns herself a citation for valour – a Purple Heart in a movie that’s otherwise way too grim and grey for its own good.
  1. Who wants to watch any film where Sarandon, the sexiest 60-year-old woman alive, is first prize in a corn-eating contest?
  2. Refn’s expectation-defying choice is laudable in theory, but Only God Forgives is a pretty awful drama.
  3. It is all so intentionally ridiculous that it gets boring, and you just wait for the next big cornball revelation to momentarily jolt you awake, like Sofia Vergara strapping on her machine-gun bra, or Lady Gaga’s appearance as a hit woman. Machete kills, sure. Unfortunately, he overkills.
  4. The movie's dated, stereotypical comedy often contradicts its wholesome intentions, coming across as laboriously cutesy and occasionally perverse.
  5. Don't mean to boast, but I can suspend my disbelief as willingly as any credulous moviegoer. Yet not even an industrial crane would have helped here.
  6. The lower orders seem to have been left out of The Lost City -- there just aren't any poor characters -- which for a movie about a workers' revolution seems downright slipshod.
  7. Steers can compose and capture a shot fine enough, but seems otherwise bored to be here. Each of his scenes collide lazily against the next; transitions are rushed and often ugly, and the director never seems to know what emotions he should be steering his cast toward.
    • 26 Metascore
    • 38 Critic Score
    The storyline is a sinkhole that swallows up any sense and suspense.
  8. A Michael Bay-branded time-travel fiasco, made for teens and seemingly by them, too.
  9. House of Games is so bad it seems reasonable to conclude that God was out of town and Mamet's muse was in a coma. [16 Oct 1987]
    • The Globe and Mail (Toronto)
  10. All the borderline pantomime acting and wigged buffoonery is deliberate and silly, but The Three Musketeers remains charmless, a romp brought down by its lead-footed script.
  11. Zoolander 2 feels like a hasty collection of last-minute comedy panic attacks.
  12. A twisted, but not particularly clever, black comedy.
  13. With its stilted dialogue, fragments of voice-over and over-busy camera, Red Riding Hood feels off-kilter from the start.
    • 91 Metascore
    • 38 Critic Score
    It pains that this documentary was so tedious, since the New York Public Library is the crown jewel of public institutions, deserving of every accolade. If you want to spend three hours finding out what the library has to offer, save yourself the price of a movie ticket and head down to your local branch.
  14. Definition of redundant: A formulaic Hollywood pic that calls itself Déjà Vu.
  15. Scott means for his entertainment package to be hip, hysterical fun. But his stylistic embellishments and indiscriminate appetite for sensation crowds his title character right out of the film.
  16. Despite being set in 1958 Cuba, Havana Nights sticks to the formula. This would be perfectly acceptable if the dancing was "dirtier" and if there was a spark between the young couple.
    • 50 Metascore
    • 38 Critic Score
    Kinnaman, a Swede, is good in small doses – say, as Mireille Enos’s sidekick in the TV series The Killing – but he’s no leading man. He gives us zero insight into Elliot, so he never makes us care about him. This film will be remembered (if at all) as one of the things Holland did before he was Spider-Man.
  17. There are a few laughs at the start of This Is the End, and a couple more at the end of This is the End. As for the endless middle, it’s middling.
  18. The director’s pedestrian tactics are most evident in his command, or lack thereof, over his cast. While Parker knows how to expertly play to the camera – he all but winks at the audience, so confident is he in his admittedly captivating lead performance – he abandons his fellow actors, allowing them to exploit their worst instincts: hammy accents, wild gesticulating, uneasy line readings.
    • 35 Metascore
    • 38 Critic Score
    Though a few scenes drum up some intensity -- that green ham Gustave makes one last great appearance -- it's mostly grim, dull and ugly, three qualities that nobody wants in a piece of multiplex filler about a surly reptile.
  19. This hunk of celluloid flotsam will come back sooner rather than later, washed up on the remote shelves of your local video store. My advice: shred the message, recycle the bottle.
  20. The Peanuts Movie is a sloppy mash-up of disconnected vignettes and rehashed jokes, all lazily reverse-engineered from the premise that a Peanuts movie is a thing that people will like and will happily pay to see.
  21. Some of the most memorable performances from great actors are also their worst: Add to that list Anthony Hopkins's turn as a sinister old Jesuit.
  22. After six years in development, this comedy starring and produced by Adam Sandler feels as slapped together one of the comedian's live-action buddy movies.
  23. [An] occasionally cute romantic comedy.
  24. The whole d--- thing can be summed up in three little words: yo ho hum.
  25. The United States of Leland has a resonance of "Elephant" without the visual poetry or structural sophistication, or "American Beauty" without the leavening comedy, but it's neither an insightful nor well-made film.

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