The Globe and Mail (Toronto)'s Scores

For 4,041 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 Kafka
Lowest review score: 0 Sex and the City
Score distribution:
4,041 movie reviews
  1. Halfway through, everyone starts drinking heavily and the film turns into agreeably sloppy fun. (Isn't that always the way – class reunions often perk up when someone spikes the punch.)
  2. While Lawrence doesn't come close to the fireworks wit and satire of Pryor in his postfreebase-accident film, "Live On The Sunset Strip," his riveting story saves Runteldat from becoming just a routine slapped on the big screen.
  3. So, fans, gear up for rock-em-sock-em action, yet don’t be disappointed if much of the goonery seems a bit tepid and, dare I say, staged.
  4. Park is busy treating every frame like a runway model, dressing it up in self-conscious layers of cinematic haute couture. It’s gorgeous to gaze upon but otherwise dessicated – listless, juiceless and ultimately pointless. For all his exemplary camera work, there’s no motion, or emotion, in the picture.
  5. The effect of so much pretension and so many lovely images eventually becomes soporific.
  6. Though by no means a good movie, The Internship floats along for fairly well for about half its length, thanks to the easy interplay between the two stars and a certain melancholic topicality.
  7. Damned if this sugary confection doesn't come with a creepy crust. the odd sense that these aging boomers, ever eager to stall the march of time, are competing with their own daughter in the maternity sweepstakes - I'll see your child, and raise you one. [8 Dec 1995, p.C1]
    • The Globe and Mail (Toronto)
  8. The problem is not that the director is working but that his latest film is working too hard. Way too hard – this thing is melodrama running a marathon.
  9. If you have kids who are easily frightened, bring them to Alpha and Omega, a 3-D movie with training wheels. Kids may not like it, but they'll never fall off the ride.
  10. This is the reliable raunch-plus-sweetness comic formula that goes back through the Farrelly brothers, Adam Sandler's comedies, "Revenge of the Nerds," "Porky's" and "Animal House."
  11. Unfortunately, The East is not a very good movie, hobbled by an excess of plot, a lack of believability and big gaps of logic.
  12. A tart-coated sugar pill of a movie.
  13. Washington's take on the seductress is so saucy, so unapologetic, such a brash blend of insouciant charm and raw sex appeal, that she swipes the picture from right under its nominal star. The only problem is that her theft inadvertently tips the balance of the moral dilemma, shifting it seismically all the way from "He'd be a fool to succumb" to "He'd be a coward not to."
  14. It is a paint-by-numbers Holocaust movie, scrupulously balanced, always cautious, occasionally clichéd, often sentimental.
  15. Jawbreaker breaks ground in one way. The movie is notably unpleasant, not just because it's morally offensive, but because it strives for this arch, artificial John Waters tone without any accompanying pay-off in wit.
  16. This entry has been described as a “cousin” to the other movies. Specifically, The Marked Ones is a Hispanic cousin, customized for Latino audiences in the United States where the series is particularly popular.
  17. A splatter of scenes that relocate the funny-bone in the lower anatomical regions -- sometimes hitting the mark, occasionally a glancing blow, often missing completely.
  18. Guy Ritchie's Holmes reboot feels both too complicated and too elementary, dear Watson.
  19. While it’s fine for a director to explore his childhood inspirations, you hope he would bring something a bit more personal to it. Instead, Jack the Giant Slayer, while well-crafted, feels entirely generic.
  20. It’s been not so much remade as restrained – tamed and dumbed-down and with any sharp political edges safely filed off.
  21. While Tom Tykwer's lavish and lively screen adaptation of Perfume: The Story of a Murderer is certainly not a stinker, there is something decidedly off about it.
  22. More than merely stale and dated, Hollywood Ending seems lazy and careless -- the structure is loose to the point of crumbling.
  23. In its component parts, then, Love Liza is essentially a battle between opposing clichés.
  24. Lewy’s script doesn’t cop out with any sentimental redemption, but neither does it establish why the self-destructive Lachlan deserves our sympathy.
  25. As a statement on capitalism or anything else, Capitalism: A Love Story is often embarrassingly simplistic, self-contradictory.
  26. A football story that deserves a penalty flag every other play for piling on the sentiment.
  27. Queen Latifah's energy may be winning and her self-reliance message righteous, but Last Holiday grossly overextends her credit
  28. The film is primarily an excuse for Chase to demonstrate that though he may be a movie star he has yet to learn how to create, let alone sustain, a character, and for director Harold (Caddyshack) Ramis and screenwriter John (National Lampoon's Class Reunion) Hughes to demonstrate that some movie stars get the colleagues they deserve. [2 Aug 1983]
    • The Globe and Mail (Toronto)
  29. If you're looking for a screwball comedy about bipolar disorder -- and who among us is not? -- then this picture fits the bill fine. However, if you're picky enough to want a good screwball comedy about bipolar disorder, well, I'm afraid the wait continues.
  30. The movie never actually gets to winter: The title is just a clumsy play on the family's surname.

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