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 The Pool
Lowest review score: 0 Basic Instinct
Score distribution:
4469 movie reviews
    • 60 Metascore
    • 50 Critic Score
    Apatow wants to be taken seriously. Funny People is the attempt to raise his game a notch – and it fails.
  1. Okay, some of this is mildly diverting.
  2. If you like your archetypes writ large and your sentiment over easy, then Unstrung Heroes is the flick for you. [15 Sep 1995]
    • The Globe and Mail (Toronto)
  3. Leatherhead's a comedy of stock setups and kooky digressions in which nothing really comes to a head, and running at close to two hours, it lacks the essential brevity of the form.
  4. The ninth film in the franchise is competent enough but it won’t freeze the heart or fire the imagination.
  5. Guess who sings tired old tune.
  6. The unruly pack of subplots make The Shaggy Dog much more convoluted than it needs to be. But Allen's physical comedy as man-becoming-dog, and his non-stop monologue as man-dog, are definitely worth a trip to the matinee.
  7. Cholodenko casts much better than she writes. Yet, alas, even a talented veteran like Moore can't sell a hoary line like, "Sometimes you hurt the ones you love the most." Maybe if she'd set it to music – nope, sorry, that's already been done.
    • 49 Metascore
    • 50 Critic Score
    While the world of competitive cycling can be extremely exciting, not every one of its events is captivating. A well-intentioned biopic about Scottish cycling maverick Graeme Obree, The Flying Scotsman is hampered by the fact that its hero earned his greatest renown for riding around and around on a velodrome … alone … for an hour.
  8. Ultimately, Next is just the next Nic Cage vehicle, another quirky story that allows him to do his patented neurotic balancing act in an askew world. The problem here is not just that Cage's shtick is wearing as thin as his hair; the role is a bad fit.
  9. Miss Sloane is a powerfully conceived thriller with something dead at its centre: there is no reason a female protagonist must be good or well-behaved, but she must at least be interesting.
  10. First Blood is a gung-ho action flick fast enough and brutal enough to become Stallone's first non-Rocky hit; on the profound sympathetic levels it seeks to address, however, it is an emission of profound stupidity. [22 Oct 1982]
    • The Globe and Mail (Toronto)
  11. An inferior "Napoleon Dynamite." Call it Napoleon Firecracker. The film steals one of the best laughs of Jon Heder's surprise 2004 hit, the scene where Napoleon nosedives over a bicycle jump, and stretches the gag into an 86-minute movie.
  12. Screenwriter Brian Helgeland (L.A. Confidential, Mystic River) is the real culprit here, creating a crude paint-by-numbers fiction that keeps yelling about the importance of the truth while hurtling in the opposite direction.
  13. The clever lines and themes of friendship and finding home are almost completely overwhelmed here by the breathless pace and sensory overload.
  14. Only Lange is a powerful enough presence to raise a flicker of realistic emotion from this kind of stuff.
  15. There's potential here for a macabre cult favourite touching on themes of technology and the body-mind split, but the movie's progression into rambling incoherence gives new meaning to the phrase "fatal script error."
    • tbd Metascore
    • 50 Critic Score
    There is one bright spot, though: Jason Momoa (Game of Thrones) shows up as the town baddie, bringing a much-needed injection of scariness.
  16. With no previous acting experience, she's (Stilley) a natural between the sheets but a rank amateur between the vowels.
  17. Contraryto its exciting advertising, Event Horizon is not the most frightening movie ever made. If anything, the conventional pop-up scares and gross-out effects of this British haunted-space-ship story seem less terrifying than quaint.
  18. Black comedy often asks viewers, in exchange for the hilarity, to suspend their moral objections along with their disbelief...Here, we keep our part of the bargain only to be cheated of our payoff.
  19. Where's 007 when you need him? Neither shaken nor stirred, The Good Shepherd is a flat draft of history that looks at the Central Intelligence Agency's early years through the horn-rimmed gaze of a fictional spook.
  20. Both original and good; the problem is the original parts aren't good and the good parts aren't original.
  21. Cold Souls begins to lose its comic focus, however, when Giamatti comes to realize that he needs his soul back.
  22. The story is a much more serious problem, a run-on, overstuffed narrative that feels like a very long prologue for a climax that never comes.
    • 60 Metascore
    • 50 Critic Score
    Poehler’s Parks and Rec co-star Adam Scott is there, playing a sound engineer and so is John Stamos from "Full House," because, you know, that’s funny. Until it’s tiresome.
  23. It’s only mildly entertaining, never funny enough nor smart enough to summarize the cultural moment in the manner of a "Working Girl" or "The Social Network."
  24. Doesn't work because it isn't much of a ride. The action scenes are strictly by rote. The incidental characters are all incidental.
  25. Biggs, in particular, seems positively frozen by his imitative efforts -- less Woody than wooden. Ricci is a bit looser, and has the added advantage of hiding behind those saucer-eyes.
  26. Ocean's Twelve lacks the courage of its star-driven convictions. Next time, Steven and George and Brad and Matt should ditch the hypocrisy and just shoot themselves shooting the breeze, poking fun at each other from within the smug sanctuary of their precious celebrity.

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