The Globe and Mail (Toronto)'s Scores

For 7,302 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 3 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Red Turtle
Lowest review score: 0 The Mod Squad
Score distribution:
7302 movie reviews
  1. The visual big top is the scourging and the crucifixion -- again and again, Gibson returns to the blood-letting. Again and again, we're exposed to the clinical repetition of a single act, until an alleged act of passion comes to seem boring and passionless. Is that not a definition of pornography?
  2. A welcome antidote to the usual seasonal sweetness.
  3. Narrative-driven and determinedly unpredictable, The Disappearance of Finbar is true to its mandate as a mystery story to a fault. [18 Jul 1987]
    • The Globe and Mail (Toronto)
  4. Mel Brooks, the writer, director and producer of History of the World, is an ecologically sound filmmaker, a staunch adherent of recycling. If you laugh the second or third time, you defend the repetition as a variation on a theme; if you don't laugh, the charges are self-plagiarism and lack of imagination. [13 June 1981]
    • The Globe and Mail (Toronto)
  5. Even the visions of attractive half-dressed bodies lolling about in various Madrid bedrooms or leaping into spontaneous music videos don't prove compelling for long.
  6. The updated Dickensian sensibility of writer Craig Bartlett's story is appealing.
  7. Only a few of the characters are well-developed enough to sustain the movie's interest, while the rest speak in obscure, poetic dialogue that repeats the central thesis ad nauseam.
  8. The first 20 minutes owe too much - much too much - to Animal House & Co., and the last 20 to The Graduate, but in between there is an uproariously crude and vigorously funny effort to squish the teen genre into the confines of classic French sex farce.[14 June 1985]
    • The Globe and Mail (Toronto)
  9. Predator 2, an alien-monster movie that is racist and violent, not to mention atrociously acted and ham-handedly directed, has everything going for it a bad movie needs to be dismissed with a quip. But this is too ugly to be funny about. [23 Nov 1990]
    • The Globe and Mail (Toronto)
  10. Perfect betrays itself in the end, but until it does, it's an unexpectedly thoughtful consideration of "lifestyle" journalism, which by nature allots to the unknown a sudden but ephemeral celebrity, and which too frequently takes advantage of naive subjects eager to lower their defences. [7 June 1985]
    • The Globe and Mail (Toronto)
    • 46 Metascore
    • 63 Critic Score
    The man (Affleck) is something of a force of nature himself, and it ain't pretty.
  11. Who would have guessed that, among all the cutesy curves in Around the Bend, the guy walking the straightest line is Christopher Walken?
  12. Smooth direction, vigorous performances, competent music, spotty script, and a running time that overstays its welcome. [10 Apr 1992]
    • The Globe and Mail (Toronto)
  13. Where the hell is the movie?
  14. If someone somehow convinced somebody somewhere to turn the screenplay for Gringo into a real-life motion picture with real-deal actors, then, hell, it could happen to anyone.
  15. Although Wonder Wheel begins with a few of the witty ruptures of the fourth wall that have often enlivened Allen's work, it soon descends into a bleak melodrama that is little more than warmed-over Tennessee Williams.
  16. Eventually, Typhoon succumbs to the usual special-effects bombast and plot overkill.
  17. In real life, of course, nobody can be hypnotized against their will. To be mesmerized is to willingly succumb. Just keep that in mind when you head off to see something like Now You See Me 2.
  18. In the last third, Payback turns into a joke.
  19. In The Dead Pool, Dirty Harry is downright dusty. The erstwhile right-wing San Francisco homicide inspector has mellowed so much in the fifth installment of his adventures that he's become the darling of the liberal Bay Area media and he seems almost bored by blowing people away. [13 Jul 1988, p.C7]
    • The Globe and Mail (Toronto)
  20. Virtue aside, however, Red Tails is a lousy film. Not wincingly bad, mind you, just mediocre.
  21. Natali’s aesthetic exercise eventually outgrows his narrative trappings, and he’s forced to add unnecessary and foggy backstory to the source of the overgrown greenery.
  22. While Bale speaks in an anachronistically modern American vernacular, the Chinese cast recite grammatically perfect, phonetic English so stilted you find yourself wishing the film would stick to subtitles. This is not so much a question of a story being lost in translation as a movie that never finds the right story to tell.
  23. It is a disappointment - just intermittently engaging, and lacking the cohesion of his best efforts, it seems less a fully realized feature than a film-school foible. [30 Aug 1996]
    • The Globe and Mail (Toronto)
  24. For the already faithful, believing in John’s miraculous recovery demands not a leap of faith, but a small hop. The film tells them absolutely nothing that they don’t already presume themselves to know. So what, then, is its point?
  25. Where it stumbles is in the script by Matt Healy, which is often clever, but never quite takes hold.
  26. In every way but one, this is just another genre pic on another mundane outing.
  27. There's a good movie buried inside The Nanny Diaries, and a good cast trying hard to dig it out. Too bad they don't get much help.
  28. The result is that, rather than tragedy, this unfolds like a plodding morality tale in which Wrath and Cowardice play out their respective parts.
  29. So it's puffed up with lots of extraneous stuff – Super fun for the kids but for grown-ups? Just fluff.

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