The Globe and Mail (Toronto)'s Scores

For 4,740 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Jackie
Lowest review score: 0 Cocktail
Score distribution:
4740 movie reviews
  1. Soderbergh has bathed the Depression in lovely, golden-brown hues - so lovely, so golden, that the flick seems to be unfolding from inside the delicious core of a burnished bran muffin. [20 August 1993]
    • The Globe and Mail (Toronto)
  2. I'll personally toast the buns of anybody I hear saying anything good about the movie Broadcast News. Broadcast News is for boobs. It doesn't apply to us. Anyone who thinks otherwise is invited not to think, because thinking is for statues. [16 Dec 1987, p.C5]
    • The Globe and Mail (Toronto)
  3. The performances, the writing, the direction, Segel’s D.F.W. impression, everything is just fine. But The End of the Tour is disgraceful. It feels like it’s towing out the real Wallace’s ghost to perform some soppy parody of himself.
  4. This film is all shiny inspirational veneer. It leads you to issues but it won't let you think...It may be good for you, but it's not entertainment. And it may not be good for you: lurking at the penumbra of the film's sunny celebration of brotherhood is the faint but unmistakable shadow of anti-Semitism. [26 Sept 1981]
    • The Globe and Mail (Toronto)
  5. And that’s how Detroit unfolds: like a horror film. The film flattens its historical personages and its particularities of time-and-place into excruciating exploitation – somewhere between a Straw Dogs-style “survive the night” home invasion narrative, Milgram experiment moral problem play and racial torture porn.
  6. ROB REINER'S debut as a feature film director with the mock "rockumentary" This Is Spinal Tap was as invigorating as his second film, The Sure Thing, is depressing: not since Michael Cimino followed The Deer Hunter with Heaven's Gate has there been such a dramatic comedown. [1 Mar 1985]
    • The Globe and Mail (Toronto)
  7. Because the society in Menace II Society is boxed in sociologically, the picture (for all its strengths) is boxed in esthetically. Already, this genre is beginning to seem as much a victim as the victims it portrays.
  8. The problem here isn't how the figures look; rather, it's what they do and say -- the story is lame and the dialogue no better.
  9. JFK
    A three-hour oration, rambling and familiar and repetitive, during which director Oliver Stone uses the assassination of John Kennedy as an elaborate pretext for delivering a dull sermon. [20 Dec 1991]
    • The Globe and Mail (Toronto)
  10. In short, there are an awful lot of subplots and comic characters but none of the actors in this star-studded cast is allowed to build his laughs and the Coens just abandon several of these vivid personalities along the way.
  11. If that wasn’t enough, there is something even more dispiriting about Doctor Strange beyond its halfhearted visual and narrative ambitions – an issue that made a brief blip on the cultural radar when the film was first announced but has distressingly gone unheard of since: This is a movie that revels in whitewashing.
  12. There is a terrific little movie making the rounds, Repo Man, that demonstrates what can be done with vision, no money and faith in the audience; Buckaroo Banzai demonstrates what can be done with a lot of money, no faith in the audience, and a vision that begins and ends in the cash register. [13 Aug 1984]
    • The Globe and Mail (Toronto)
  13. 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.
  14. Despite an inspired central section involving Robin Williams as the King of the Moon and Valentina Cortese as his Queen, The Adventures of Baron Munchausen is a near-disaster of Ishtarish proportions. [11 Mar 1989, p.C3]
    • The Globe and Mail (Toronto)
  15. It's unclear as to how we are supposed to feel about these monologuists, the majority of whom are twentysomething; nothing is how I felt about them, but perhaps I was tired. [27 Sept. 1991]
    • The Globe and Mail (Toronto)
  16. The director’s pedestrian tactics are most evident in his command, or lack thereof, over his cast. While Parker knows how to expertly play to the camera – he all but winks at the audience, so confident is he in his admittedly captivating lead performance – he abandons his fellow actors, allowing them to exploit their worst instincts: hammy accents, wild gesticulating, uneasy line readings.
  17. John Wick is the most blatant attempt to establish a character’s name recognition since the Angelina Jolie actioneer "Salt."
  18. The film preaches the gospel of unpredictable change, of ironic metamorphosis, of a psychological ebb and flow from love to lust, hope to despair, good to evil. But if the message is fluid, the medium is static at best and chaotic at worst - there's very little controlled motion in this picture. [19 June 1992]
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 38 Critic Score
    What could have made Noah work is the same sense of urgency – of fateful craziness – that made "Pi" so memorable, and which also factored into the fatal obsessions of "The Wrestler" and "Black Swan" (two very flawed movies that admittedly benefited from stronger lead performances than the one here).
  19. Perfectly passable kiddie escapism. It has a thrill or two, and a chill or three, but it has no poetry, little sense of wonder, no resonant subtext (Jungian or otherwise), no art... When it's over, it's gone. Extinct.
  20. When you combine the megawattage of Gyllenhaal and Adams with Ford’s directorial … well, “prowess” would be too strong a word, so let’s go with “vision.” So, when you combine those two actors with Ford’s vision, what you get is a ridiculous, high-camp mess that could easily be mistaken for substance, if it weren’t so irredeemably silly.
  21. There are a few laughs at the start of This Is the End, and a couple more at the end of This is the End. As for the endless middle, it’s middling.
  22. If you have missed Janis Joplin, and if you have looked forward to Bette Midler's debut in a role she seemed born to play, you should leave the theatre at that precise moment. Almost everything else in and about The Rose, except a few concert sequences and the occasional occasions when Miss Midler falls out of character and into her stage persona of The Divine Miss M, is infuriatingly tedious, depressing, pretentious, obvious and downright pushy. [10 Nov 1979]
    • The Globe and Mail (Toronto)
  23. The Peanuts Movie is a sloppy mash-up of disconnected vignettes and rehashed jokes, all lazily reverse-engineered from the premise that a Peanuts movie is a thing that people will like and will happily pay to see.
  24. It's a turning-the-tables story a five-year-old could appreciate -- except for the confusing crowd scenes and haphazard camera work. Technically speaking, Waters' skills haven't improved much over the years.
  25. American Me is a graphic and honest effort that, unfortunately, becomes a catalogue of other films on similar subjects. Its depiction of prison life is much too slow, too long, too repetitive and too familiar. [13 Mar 1992, p. C3]
    • The Globe and Mail (Toronto)
  26. Casting Eastwood in a friendly, bumbling, light romantic lead is like asking Ethel Merman to sing a lullaby: in the end, nothing is forthcoming but overkill. Clint Eastwood was already famous for that. [16 June 1980]
    • The Globe and Mail (Toronto)
  27. Condescending, self-righteous and sloppy, Truth is simply a bad film for which there are no excuses.
  28. More manipulative, maudlin trash from the Disney-Pixar content farm.
    • 66 Metascore
    • 38 Critic Score
    The problem with this spinoff is, like homework, you’d rather be doing something else with your time.

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