The Globe and Mail (Toronto)'s Scores

For 4,732 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 China Heavyweight
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
4732 movie reviews
  1. Because it attempts so much more than Excalibur, the disappointment of Knightriders cuts deeper. Romero wants to tell the tale, to comment on it and to relate it to the present; he wants to bring contemporary satirical life to the myth, a service he performed cannily for the Dracula legend in Martin. [18 April 1981]
    • The Globe and Mail (Toronto)
  2. A try-anything, fitfully amusing muddle that wears its mocking cynicism a bit too proudly.
  3. The film itself struggles to do justice to each victim. Turns out three stories are two too many. The Company Men should have been downsized.
  4. This is a fairly well-made picture that's just been fairly well-made too many times before, a knock-off of a thousand other knock-offs.
  5. Your basic and basically predictable by-the-numbers picture.
  6. By the end of the Stoked, the viewer is left with a lot of trivia about the history of skateboarding, and scant insight.
  7. Definitely erratic, this thing -- all in all, it's the sort of commercial vehicle you might want to stay well back of.
  8. While Atkinson’s intentions are good, his methods are shaky, resulting in a surface-skimming film that raises issues without ever approaching a solution. What’s worse is his shaky narrative framing and rookie pacing, all of which undermine what is a deadly serious issue deserving of a polished and powerful dissection.
  9. Keen to be both really romantic and romantically real, the movie is neither, and falls between the cracks of its twin-ambitions. The result? Call it l'amour phooey.
  10. By turns raw, naturalistic and indebted to John Cassavetes, both stylistically and thematically.
  11. Superficial but giddily entertaining backstage documentary.
  12. Hergé was the pioneer of an even-handed style of cartooning with solid lines and no shading that became known as ligne claire, but there is a decided lack of clear lines in this erratic movie adaptation of his work.
  13. Unfortunately, The East is not a very good movie, hobbled by an excess of plot, a lack of believability and big gaps of logic.
  14. For a film meant to float on a gossamer veil of mystery, The Illusionist falls -- make that flops -- with quite the heavy thud. It's an intended piece of magic that plays like a ponderous slab of melodrama, sleight of hand gone ham-handed.
  15. The target is way too easy and the tone far too smug. This time, they're shooting fish in a barrel with a bazooka and congratulating themselves on their marksmanship.
  16. The climax, a 20-minute dramatization of the crucial contest, lacks both suspense and poetry -- essentially, we're left to watch a clumsy recreation of a game whose outcome we already know. That's a sort of resurrection, I suppose, but miraculous it assuredly ain't.
  17. The result is nothing if not a curiosity piece.
  18. In short, his film asks that an audience listen to a fair amount of ugly racism without offering much enlightenment or even entertainment in exchange. Words may build bridges but people have to cross them: Imperium remains safely outside the unexplored region.
    • 68 Metascore
    • 50 Critic Score
    A good, breezy once-over-lightly on the life and times of a Hollywood titan, but not much more.
  19. It is hard to know whether to applaud directors David Redmon and Ashley Sabin for exposing the underside of the fashion business – or demand they abandon their documentarian stance and rescue young Nadya on the spot.
  20. Like "Little Miss Sunshine," the movie stars Toni Collette and Steve Carell in a story about a dysfunctional family trip, though like "Adventureland," it’s really about a teenager finding acceptance at a local theme park.
  21. Although the entire film is beautifully framed and shot, especially the surreal sequences, precious little coheres into anything resembling a compelling narrative.
    • 68 Metascore
    • 50 Critic Score
    What starts off as a possible Argentine "American Beauty" reeks like a room stacked with pungent flowers.
  22. The greatest story ever has finally been told. Or, if you prefer, the damn thing has come to its merciful end.
  23. Departures is, well … a nice film. It breaks no new ground, offers no audacious insights or rude revelations.
  24. There are unresolved questions and puzzling detours along the way, but Bikes vs Cars does show that cars, millions and millions of stationary cars, may yet prove the bike’s best friend.
  25. Winterbottom's efficient yet prosaic approach is evident from the first grimy frame. [18 Oct 1996]
    • The Globe and Mail (Toronto)
  26. Kilmer is an improvement on Robert Hays of Airplane], but both gents perform with the facility you'd expect from a random sampling of Gentlemen's Quarterly models; like any svelte clotheshorse, Kilmer is good-looking yet self-effacing and he doesn't seem in the least perturbed that his wardrobe upstages him.[25 June 1984]
    • The Globe and Mail (Toronto)
  27. Has a provocative, ticklish premise – five North England Muslims become suicide bombers, but can't decide who or what to take with them.
  28. Here, there's not much that's funny, there's too much that's too clever by half, and there's not a damn thing that's lively - this is a film about Life whose sin is its lifelessness.

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