The Globe and Mail (Toronto)'s Scores

For 3,948 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Age of Innocence
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
3,948 movie reviews
  1. In what's meant to be a French take on "The Big Chill" - comedy meets pathos as friends gather at a country house in the wake of a tragedy - writer-director Guillaume Canet has wrought a meandering script that exercises everything except restraint.
  2. Speaking of funny things, director Todd Phillips has been down this path before in "Road Trip." There, toiling in the same lame genre, he actually showed a hint of comic ingenuity. Here, the hint has dwindled to a hoarse whisper.
  3. More ambitious, but also much harder to swallow than the average Hollywood hack effort, In the Cut is a muddle of thriller and art-house phantasmagoria.
  4. The movie is like a glass of Sprite that has been left on the counter too long: transparent, sweet and flat.
  5. To her credit, Nadda is a solid actors’ director – the performances here are competent even when the writing isn’t. The exception is South Africa which, although a logistically necessary shooting location, ain’t much of a thespian.
  6. It's an action-comedy. It's in 3-D. There's a video-game tie-in. Throw in a fluorescent Slushie from the candy counter and your eight-year-old will be in heaven.
  7. This is a flick whose failures are at least as interesting as the successes.
    • 53 Metascore
    • 50 Critic Score
    Even though William Safire doesn't fit in the target demographic, Stick It is more valuable as a survey of modern American teen argot than as a movie.
    • 55 Metascore
    • 50 Critic Score
    One wishes the makers of Pride had stuck with non-fiction, because their movie reduces Ellis's story to the level of generic sports-flick hokum.
  8. A furious 90-minute trailer of a movie that exceeds the speed limit for action films established by Quentin Tarantino's recent "Grindhouse."
  9. Periodically, thanks to the 3-D, a long and pointy object emerges from the screen, threatening to impale the viewers through their eyeballs, enhancing the movie's guilty pleasure by reminding us that we, too, are made of vulnerable flesh and bone.
  10. The plot is squeezed dry in this bloody Valentine from Hollywood and becomes annoyingly predictable. Thriller stumbles on its own success
    • 54 Metascore
    • 50 Critic Score
    There’s plenty of shimmying here, maybe too much, and lots of spin moves, but it’s missing on-the-field results.
  11. As beautiful to look at and as emotionally disconnected as its central character.
    • 53 Metascore
    • 50 Critic Score
    So if you're in the mood for a scary flick, the kind where people can't resist going into the huge hole in the wall where the family Pekinese just disappeared to the sounds of being masticated, this is the one.
  12. Without warning, the picture falls hard into the very trap it had so studiously avoided, the one marked Expensive Gimmick... The same feature that begins like no film you've ever seen ends like every cartoon you've always avoided.
  13. Like Frankenstein's monster before the lightning strikes, it's all recycled cold flesh and bolts, without a twitch of originality.
  14. To wit, stick that camera down an aquatic cave, wrap a paper-thin plot around it, slap the whole thing up on an IMAX screen and call it a movie. More truth in advertising: Call it a lame movie.
  15. Director Joel Schumacher has pulled no mawkish punches, wringing every drop of emotional potential from the script (adapted by screenwriter Akiva Goldsman from John Grisham's popular novel) down to the last manipulative glance and close-up. Call it A Time to Overkill.
  16. Approximate time spent laughing: 30 seconds or fewer.
  17. As with so many movies where the script constructs experiences that are contrived and off-putting, you hope the actors can capture the emotional truth of some scenes, even if the entire apparatus feels bogus.
  18. Like a tone-deaf singer at a benefit concert, John Q. is a bad movie appearing on behalf of a good cause.
  19. Piranha 3D is more funny than disgusting, even when screen fills with half-nude swimmers, bobbing like human dumplings in a roiling vat of borscht. This isn't just sick, it's clas-sick!
  20. Fans of Allen, the comedian, will be glad to hear there are more chuckles here than in his last film, "Bullets Over Broadway." Fans of Allen, the plot craftsman, will find a lot less discipline and imagination in the writing. In truth, Mighty Aphrodite is mighty slight.
  21. Friedkin has huffed and puffed and blown up a single chase sequence into the whole damn movie. You got your hunted, you got your hunter, and away they go. And go and go.
  22. As angst-filled as if it were "Amadeus" and "Lust for Life" rolled into one.
  23. The real weak point is Reiner's listless direction, with too few scenes that almost gel and too many that fall flat.
  24. History repeats itself, the first time as tragedy, the second time as farce, Karl Marx said. That might explain the possibility of even making a movie such as Stuck.
  25. Near the end of the movie, Django jokes that, after the protests, people may still not know what the WTO is, but "they know it's bad." That's a fair summation of how much insight Battle in Seattle provides for its viewers.
  26. The tale is about meeting Death and comes with this moral: When The End arrives, better to embrace it with love than to try to cheat it with avarice. Hey, if nothing else, Part 1 has got some nerve, so greedily refusing to practice what it earnestly preaches.

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