The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,918 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Before Sunrise
Lowest review score: 0 Far and Away
Score distribution:
3,918 movie reviews
  1. A cinematic homage as flawed as its subject. Flawed, yet with a peculiar fascination of its own -- what we have is a genuine artist paying sincere tribute to an unapologetic mediocrity, and stooping awkwardly to the task.
  2. Admittedly, it's been a long time since Kelly McGillis was being hyped as "the next Grace Kelly." But of all the films in all the world for whom the former Top Gun lust object could have done a walk-on, this lacklustre haunted-house feature is the one she chooses?
  3. None of this is funny enough to justify stealing 90 minutes of your viewing time.
  4. An underdog's breakfast of a movie, with some quite funny characters and set pieces mixed with some excruciating "moral lessons," but at least it moves along at a brisk pace.
    • 35 Metascore
    • 38 Critic Score
    Cranked up at double speed, the plot of Flashdance could almost be a satirical fantasy about dance students. Although Flashdance doesn't admit it's a fantasy, neither does it succeed in looking realistic. [16 Apr 1983, p.E5]
    • The Globe and Mail (Toronto)
  5. Bad Teacher should be a hoot. But it isn't. Love the theory here, hate the practice.
  6. A few early laughs scattered around a plot as thin as it is repetitious. There's talent in this picture, both before and behind the camera, but virtually none of it gets on the screen.
    • 36 Metascore
    • 38 Critic Score
    If the art of a true hustler is, as Joe puts it, "beating a man out of his money and making him like it," Callahan blows it big-time with any mark who shells out to see his film.
    • 47 Metascore
    • 38 Critic Score
    Like kudzu vine, killer bees and herpes, we may never be rid of it.
  7. Made of Honor should come with a bar code and a Wal-Mart display - this isn't a movie, it's a commodity. The generic brand is the romantic comedy, and the manufacturer's material of choice is recycled plastic, smoothly glued together to assure the consumer that the purchase is risk-free and thoroughly predictable.
  8. The weak plot means that the picture is governed totally by its gadgetry, the equivalent of those James Bond sequels that limp awkwardly from one showoff sequence to the next. [10 May 1991]
    • The Globe and Mail (Toronto)
  9. Characters already too wicked to be credible start doing stuff simply too stupid to be believed, with no help from a cast way too overmatched to be useful.
    • 27 Metascore
    • 38 Critic Score
    Most of The Fog will seem drearily perfunctory even to those viewers who don't know Carpenter's version, which itself emulated the elegant gloom of Val Lewton's horror pics of the 1940s.
  10. While the pale skin tones (bronzer is selectively applied) and haphazard mix of American and British accents is distracting, it barely scratches the surface of Exodus’s ungainly artificiality.
  11. It transforms that bottom line into a saccharine border, framing the picture with enough faux inspiration to keep Hallmark in cards for a month of Mother's Days. [03 Jun 1994]
    • The Globe and Mail (Toronto)
  12. With the performers given zilch to perform, the result is a picture that's all chassis and no engine, or, in the parlance of the genre, a bunch of pointy hats in search of a transporting broomstick.
  13. It's possible to insult even a teenager's intelligence.
  14. The problem is that director Wayne Wang seems deaf to the tonal differences between coming-of-age, magic realism and children's comedy.
  15. Empire is just too intent on living up to its imperial name -- colonizing other defenceless movies, plundering their rich natural resources, and leaving us all to feel rather cruelly violated. A postscript: Somebody here -- I'm not saying who -- dies. And still keeps on talking.
  16. In lieu of a movie, we get a series of car chases rudely interrupted by the occasional smattering of dialogue.
  17. Smith and Lawrence enjoyed some amusing chemistry in the '95 original, but their molecules sure aren't jibing here. It's a full hour into this behemoth before there's anything resembling a belly laugh.
  18. This briefly inspired bit of surreality quickly descends into gratuitous bondage, mayhem and dumb humour, marking the usual progression from mildly absurd premise to gratingly idiotic conclusion.
  19. If it weren't for Mo'Nique's fresh, appealing screen presence, Phat Girlz would fall flat.
  20. A crashing bore.
  21. Highlander's flashy style is the cinematic equivalent of a Las Vegas chorus line: always kicking. Without Lambert, who displays an unexpected comic talent along with intensely photogenic passive-aggressive eyes, and Roxanne Hart, whose knowledgeable portrayal of a New York detective is undercut by the symphony of screams extracted from her toward the end, and Connery, who wears a pearl-drop earring and is supposed to be Spanish but still has the burr and brio of James Bond, Highlander would be little more than an everlasting video; it's not much more than that, as it is. [10 Mar 1986, p.C9]
    • The Globe and Mail (Toronto)
  22. Dull Blade just doesn't cut it.
  23. Both syrupy and scatological, this is a typical family-dividing Sandler comedy: Parents will hate it but the kids will delight in its rudeness.
  24. Candy and Moranis are real talents, but they're completely wasted, like everyone else here, sacrificed to the grade-school inanities of that self-indulgent script. [26 Jun 1987, p.D6]
    • The Globe and Mail (Toronto)
    • 31 Metascore
    • 38 Critic Score
    If TMNT the franchise is going to reach the same lofty heights of blockbuster-dom, it still needs to find its own inner hero.
  25. While computer games can boast an abundance of nifty graphics and odious villains and plucky protagonists on long journeys, they're invariably a tad wanting in the cinematic essentials -- you know, stuff like plot and characterization and theme.

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