The Globe and Mail (Toronto)'s Scores

For 5,032 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Pearl Button
Lowest review score: 0 Prom Night
Score distribution:
5032 movie reviews
  1. Underneath all this mess there is some idea about the conflict between private love and public duty, between personal interests and those of the state, but the characters are so marginally observed by both the actors and the script there is no tension in the themes.
  2. Nominally set in some rural American backwater, The Neon Bible is a hellishly muddled reprint of Davies' personal canon - muddled enough to turn all his past virtues into present transgressions. [19 Apr 1996]
    • The Globe and Mail (Toronto)
  3. More than merely another bad movie, it's the most depressing development yet in Coppola's career. It's a would-be cash cow bred cynically to excrete money, the arty answer to "Child's Play 2" or "Back to the Future III."
  4. Using a kidnapping plot to call up some old-fashioned suspense, it doesn't even get a dial tone.
    • 60 Metascore
    • 25 Critic Score
    And yes, the super effects are fantastic. But overall, Ra.One fails to impress.
  5. The resolution of that conflict is dishonestly implausible, thus ruining a perfectly mediocre movie. The worst of it is that Fred the one-eyed cat was probably winking at us the whole time.
  6. So why are they divorcing, you ask. Who knows? Certainly not the creators of the very confused Celeste and Jesse Forever.
  7. Will she give up? Or will she fight? Ah, who cares. Sharknado isn’t Shakespeare and The Shallows isn’t deep. School’s out, schlock’s in – no lessons here.
  8. It's the perfect sort of movie to have playing on a television in the corner of a rec room during a low-key beer and pizza party.
  9. In the final frames, and the final analysis, Alien gets the worst of both worlds - it's boring and it's messy. The title may be "cubed," but the movie looks awfully square. [22 May 1992]
    • The Globe and Mail (Toronto)
  10. Definition of redundant: A formulaic Hollywood pic that calls itself Déjà Vu.
  11. The result is as off-putting as biting into a confection in which the sugar has been replaced by salt.
  12. Your mission, should you choose to accept it, is to make heads or tails of this Byzantine thing. [22 May 1996]
    • The Globe and Mail (Toronto)
  13. Instead, you get a nominal character study that boasts a single mighty performance and one nifty scene; alas, both performance and scene exist in a narrative vacuum - the plot is non-existent and the pace makes the ice age seem hasty.
  14. Complete Unknown is the perfect case study of what happens when bad movies rope in good actors. In this case, it’s Rachel Weisz and Michael Shannon, two of the most talented performers working today, who get sucked into writer-director Joshua Marston’s vortex of nothingness.
    • 58 Metascore
    • 38 Critic Score
    Before I Fall takes the premise of Harold Ramis’s rom-com and drains it of soul, soft touches and humorous pathos, plodding through its message of being a better person with all the sprightly grace of a sedated subterranean rodent being dragged out of a pretend hibernation den.
  15. By this point in his career, star Nicolas Cage does crazy like no one else, but his descent into insanity here – not too far from how his character acts at the beginning of the film, really – can't elevate Taylor's juvenile take on adulthood.
  16. By then, the lofty ambitions can't disguise the sad reality - it's long, it's cluttered, and it's trite.
  17. Clint has a script. Actually, Clint has too much script, one of those schematic by-the-number jobs that telegraphs its every pitch.
  18. Unwilling to offend, the scribes have committed the greatest offence of all - they've neglected to tell a story, airbrushing out anything remotely dramatic.
  19. This is a movie that was made not because the director had anything to say, but because she wanted to get a movie made. Even at that, the script is slapdash. Only one character has any dimension (Frances O'Connor's Mia), the plotting is the usual sub-screwball comedy with obligatory pranks and misunderstandings, and the overall tone is bland, smug and connivingly cute. [11 Apr 1997, p.C6]
    • The Globe and Mail (Toronto)
  20. It's difficult to say who is more misguided here: the men (director, screenwriter and producer) who made the movie, or the women who signed on to play the parts.
  21. This story, like many of Towne's own, does not come with a happy ending. Or beginning, for that matter, because it's almost immediately clear that Ask the Dust bites the dust -- his dream movie is stillborn.
  22. Can't find it in your vast collection of Fleming first editions? Not to worry. Seems the producers - a.k.a. the Cubby Broccoli Cottage Industry - have run plumb out of titles. And everything else too. [14 July 1989]
    • The Globe and Mail (Toronto)
  23. A rancid, violent police picture starring and directed by Burt Reynolds who, like bad news, is everywhere this year. [19 Dec 1981]
    • The Globe and Mail (Toronto)
  24. Wayne's World has been engineered to amuse people who are mirror images of its heroes, but it goes wickedly wrong: It's so dumb it talks down to the stupid.
    • 57 Metascore
    • 38 Critic Score
    The heroic irony that was hilarious in Raiders is merely ridiculous here, and the half-tribute/half-parody of the adventure genre is toyed with to threadbare extremes. [23 May 1984]
    • The Globe and Mail (Toronto)
  25. The relationships between the characters are designed to climax in the slaughter, but by then the static images, the lack of rhythm and the paucity of intelligence (Heaven's Gate is simultaneously without subtlety or clarity) have taken their toll and the movie is unsalvageable. [21 Nov 1980]
    • The Globe and Mail (Toronto)
  26. Guilty of gross mellerdrammer & innocent of sophistication... Guilty of being dumber than WWF wrestling & innocent of hypocrisy about its cartoon violence.
    • 57 Metascore
    • 38 Critic Score
    The dialogue is sour, the politics problematic (Broadway veterans as Afghan locals? Why not?!), and the sentiments sometimes eye-rolling. Whiskey Tango Foxtrot, indeed.

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