The Globe and Mail (Toronto)'s Scores

For 4,070 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Maria Full of Grace
Lowest review score: 0 Extraction
Score distribution:
4070 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. The movie espouses a kind of Unitarian ecumenical egalitarianism that has about as much to do with medieval times as quantum physics. No one should be offended except -- of course -- those who like movies that excite the mind as well as the pulse.
  5. But don't worry about remembering the characters - the movie certainly doesn't.
    • 50 Metascore
    • 50 Critic Score
    Sadly, the movie’s lack of a clear identity – is it a thriller, soap, legal drama or action chase movie? – makes it difficult to understand why anyone should care.
  6. The Good Girl isn't really the title of this movie at all. Instead, it's now widely known as The Movie That Proves Jennifer Can Act.
  7. Even with dyed hair, heavy makeup and a cigarette dangling from her bottom lip, Portman still looks like a schoolgirl pretending to be somebody's mom.
  8. The humour in Accepted is maddeningly safe.
  9. 21
    What a big cheat of a movie. Wanting to be everything to everybody – a tough gambling picture, a revenge-of-the-nerds fantasy, a Vegas caper flick, a sweet little romance, a simple morality tale – 21 is just a bet-hedger dealing from multiple decks, designed to leave you with an occasional tidbit to like but nothing at all to love.
  10. The main interest here is the acting, which is, by turns, entertaining or just entertainingly bad, with lots of grungy seriousness and Method-trained twitching, but also some moments of real gusto.
  11. Credit Madagascar with negotiating a hopeful truce in the ongoing battle between the computer and the animation. Judged merely by appearances, its look is a lovely compromise. Too bad everything else has been compromised right out of existence.
  12. Broadening the original script out to a cinematic thriller of the prey-and-predator variety, Dolan’s direction is not imaginative enough to carry the day.
  13. Although possessed of a laudable desire not to be yet another run-of-the-mill, wacky-impediment, I'm-nobody-and-you're-the-Prez's-daughter romance comedy, damned if the picture can figure out how to be an anti-romance comedy.
    • 48 Metascore
    • 50 Critic Score
    The presence of some genuine feeling distinguishes Saw III from its predecessors. That said, it has plenty of the blood, torture and dismemberment that moviegoers demand from their Halloween weekend entertainment.
  14. Writer-director Tommy Lee Wallace is not, as can be gathered, a born auteur, but he is crafty at timing the jumpies - despite a silliness that increases as the movie goes on, there are enough left-field shocks to please even the most discriminating fan of what American Film has dubbed the "genre non grata. [25 Oct 1982]
    • The Globe and Mail (Toronto)
    • 36 Metascore
    • 50 Critic Score
    Sadly, Bacon is only intermittently convincing as a man hell-bent on revenge or a father tortured by what he has unleashed on his family.
  15. It's refreshing to have a movie assume that its viewers are also readers, yet this one takes that assumption to testing lengths. To those fearful of flunking the test, my advice is simple: Bring along the book as your cheat-sheet.
  16. A movie with a double-crossing intelligence plot that's so generic it's an irritating intrusion in a lively chase through the streets and shantytowns of Cape Town, South Africa.
  17. It's odd, how these high-concept films, knowing that the central gimmick has a way of wearing out its welcome, are all so short – a mere 84 minutes in this case. Why odd? Because short always ends up feeling so damn long. This is no exception. Quick to start and painfully slow to finish, Chronicle is the same old chronicle.
  18. Alas, the news is mixed: Thor ain't much of a movie but it's a great career move. Both movie and move belong to director Kenneth Branagh.
  19. The only surprise here is the real star of the show, who turns out to be not Halle Berry, not even Bruce Willis, but a flat computer screen in all its hard-driven glory.
  20. Thanks to a tight script and brisk pacing from director Steve Carr (Daddy Day Care, Dr. Doolittle 2), there's little fat in Mall Cop, save the a yawn-inducing parade of fat-guy jokes.
  21. What should have sizzled fizzles.
  22. Gran Torino skids into the narrative ditch. By the time it jolts to an ending, followed by Clint rasping a tune to the closing credits, you're more likely to be rolling your eyes than dabbing them.
  23. While The Vow will give heart palpitations to fans of its charming co-stars Rachel McAdams and Channing Tatum, this amnesia-themed romance is the kind of featherweight fare that is enjoyed in the moment and forgotten soon after the end credits roll.
  24. Alas, in the third instalment of the C.S. Lewis odyssey, the devolution continues with the inexorability of a fairy tale thrust in reverse – the sublime first film morphed into the routine second and now this wispy banality.
  25. From that title on down, White Irish Drinkers is a compendium of clichés struggling to upgrade its status and become a respectable archetype.
  26. Nothing more or less than an outright bodice-ripper -- it should have ditched the artsy pretensions and revelled in the entertaining shallows.
  27. The movie features Eddie Murphy as a vampire who is both cool and sucks. The same evaluation might apply to the entire film, which is neither as good as it might be nor as bad as you might expect. The long- in-the-tooth Dracula story, which has been updated and set in the black community of contemporary Brooklyn, is a pulpy mishmash of horror and comedy, equal parts the product of its comedian star and its creepshow director, Wes Craven. [1 Nov 1995, p.C2]
    • The Globe and Mail (Toronto)

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