The Globe and Mail (Toronto)'s Scores

For 4,413 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Advanced Style
Lowest review score: 0 The Wedding Ringer
Score distribution:
4413 movie reviews
  1. This isn't a movie so much as a marketing strategy -- a moving poster loosely disguised as a motion picture.
  2. Whom is this movie for, really? It's too tame for the whooping crowds of women who made hits of the "Sex and the City" movies and "Bridesmaids." And for sure it isn't for parents with kids. You can probably find them, diaper bags in the aisles and toddlers on their laps, watching "Dr. Seuss: The Lorax."
  3. A glum meditation on isolation and romantic malaise.
  4. Vacillating between sappy and snappy, Stuart Little 2 is featherweight family fare, perfectly timed for viewers with short attention spans.
  5. A redemption allegory so poker-faced you might forget that redemption is supposed to be a good thing.
  6. As a 21st-century account of the soldier’s enduring alienation from the home front, Billy Lynn is highly effective. It’s what surrounds that account that doesn’t work.
  7. There are individual sequences alternately amusing and touching. [08 May 1984]
    • The Globe and Mail (Toronto)
  8. Too wildly ambitious in its goal to unite two powerful TV tribes to serve a common goal, but its unsentimental music (hip songs by Devo's Mark Mothersbaugh) and visual delights will capture the imagination of young and old.
  9. Both more and less of the same -- more of that hot-pink couture, a whole lot more of that diminutive doggie, less reason to laugh even if you're a tank-topped 16-year-old.
  10. The Program makes passing references to the power of celebrity and the Live Strong narrative – the cyclist admits to telling people what they wanted to hear – but it never goes deep on what it was that produced the awfulness that is Lance Armstrong.
  11. The result is infotainment dressed up as an art flick. Turkish society is fascinatingly complex and its East/West tensions give rise not to easy allegories but to hard ambiguities. To explore that truth, read any novel by Orhan Pamuk. To escape it, watch Bliss.
  12. For all these references to the fairytale, Sydney White soon takes an easier path, recycling familiar "Mean Girls" and "Revenge of the Nerds" scenarios.
  13. That makes Mockingjay – Part 1 an experience to be endured, like a prison sentence, rather than enjoyed. By all means, bring on the revolution: It has to be more exciting than this.
  14. The story is shockingly ordinary. The movie plays like an extended mediocre episode of the X-Files TV show or, for that matter, even a contemporary crime series such as CSI.
  15. Should be a brilliant picture, one last testament to the intertwined sensibilities of two brave artists. Should be, but isn't.
  16. Remember Me could have been a decent family drama, especially considering its setting, but that was not to be. Too bad, because the romance is highly forgettable.
  17. None of this quite gets off the ground, and I found myself wanting to bid farewell to Yvan and Charlotte quite a while before the final credits rolled. Not every wannabe Woody Allen is Woody Allen.
  18. Max Manus (the title role is played by Aksel Hennie) feels so familiar that audiences watching it are likely to experience a numbing sense of déjà vu. Nothing seems particularly fresh or involving.
  19. As flicks go, She's All That ain't very much. But as high-school flicks go, this thing is a trite classic. [29 Jan 1999, p.C3]
    • The Globe and Mail (Toronto)
  20. An entertaining, moderately irreverent comedy that launches the silly movie season on a sure foot.
  21. This Means War is a Valentine's date dud: Think wilted roses, squashed chocolates and flat champagne.
  22. In the end, Eagle vs. Shark represents a convincing triumph for Dumb.
    • 64 Metascore
    • 50 Critic Score
    At least tries to disturb us, rather than shock us or gross us out, and that is admirable. But it doesn't pull it off, and the movie is indicative of the trouble Hollywood has these days making that most frightening kind of movie -- the kind that lets the audience frighten itself.
    • 48 Metascore
    • 50 Critic Score
    Its peculiar strain of anti-Americanism aside, Run, Fat Boy, Run tries to bridge the gap between self-deprecating Brits and self-aggrandizing Yanks, settling down somewhere between the two. Don't ask me where, exactly, but this mid-Atlantic meeting point is an ultra-neutral zone.
  23. Promised Land is a low-budget effort, far too awkward and contrived a drama to change many hearts and minds.
  24. Mainly bad, and a shockingly bland departure from a hitherto spunky guy.
  25. Apparently Fantastic Four doesn’t want to be another dumb superhero action flick, but try as they might to turn it into a movingly realistic drama, director Josh Trank and a pair of screenwriters never succeed, creating instead a comic book movie that is bizarrely short on humour and action.
  26. Altman shakes the camera like a two-bit horror director, and it seems a different sort of signature - less masterful than weary, less signed than resigned. Zero-sum, indeed.
  27. Parental Guidance is one of those intergenerational embarrassment comedies in the "Meet the Fockers" line, where children can enjoy seeing grown-ups looking ridiculous.
  28. If you like your sentimentality sweet and sticky, then The Secret Life of Bees is definitely your jar of honey.

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