The Globe and Mail (Toronto)'s Scores

For 7,291 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:
7291 movie reviews
  1. Essentially a slapstick movie with no plot or -- as my boyfriend called it after recovering from 1½ hours of side-splitting laughter -- "the ultimate big-screen TV experience."
  2. A rip-off and a rerun.
  3. Every character is like the hyperactive rat-squirrel Scrat, and the audience is bounced around like his elusive acorn.
  4. From its lazy title down to its yes-we-all-saw-that-coming third-act twist, Dangerous Lies offers a particularly boring kind of last-resort viewing.
  5. The second film, in which one teen- ager is possessed by the spirit of a murderer - this is a supernatural Jekyll and Hyde - sets horror film fans to laughing and eventually to booing.[20 Nov 1985]
    • The Globe and Mail (Toronto)
  6. 2 Days in New York plays like 2 years in Attica. You don't watch this movie so much as serve it out, a light comedy doled out as a heavy sentence.
    • 29 Metascore
    • 25 Critic Score
    Tedious, baffling and ultimately laughable.
  7. Overriding everything is a profound sense of laziness. Jokes do not land here so much as they ooze forth, slow and noxious.
  8. A slow and visually hideous crawl to an underwhelming brawl.
  9. Would-be horror film has little upstairs. Warped and wilted in the attic. [25 Nov 1987]
    • The Globe and Mail (Toronto)
  10. Any hope that the clever concept behind Risen might produce a clever movie is thrown to the ground, where it lies quivering for the next hour or so, before expiring noisily in the film’s second half.
  11. 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.
    • 31 Metascore
    • 25 Critic Score
    Unless you are a Connery fan - or a special effects fan, or perhaps a broadsword-fighting fan - the profoundly silly plot sinks this film beyond redemption. [04 Nov 1991]
    • The Globe and Mail (Toronto)
  12. The film can't be accused of taking itself seriously. Shot in 3-D, with lots of choppy action, a rudimentary plot, and plenty of CGI-shape-shifting, it comes in at a brisk, disposable 88 minutes.
  13. 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.
  14. THERE'S NO excuse for Her Alibi. A hyphenated hybrid like this - romance- comedy-thriller - demands a lot of stirring; if nothing else (and there rarely is much else), it must at least be smooth, colorful and easy on the palate. Instead, the stuff here goes down like lumpy porridge on a grey morning.[3 Feb 1989]
    • The Globe and Mail (Toronto)
  15. After 90 minutes of diligently searching the premises of ACB2, no evidence of mass entertainment can be found. Recommend cancellation of all future similar missions.
  16. Classic style over substance, with some gruesome-looking creatures and settings and non-stop shooting and biting (both the vampires and werewolves get their teeth into it). But, alas, at almost two hours, it is much ado about nothing.
  17. Within this bloated fantasy hodgepodge, there are few grace notes: In the role of the creepy fortune teller, Madame Dorothea, CCH Pounder is evil fun. And a few special effects, including a Rottweiller who turns into a skinned hellhound, leave an impression. Otherwise, Mortal Instruments manages to occupy 130 minutes of frantic, numbing, activity.
  18. The movie is pallid, bloated and light enough to evaporate from the mind 10 minutes after you leave the theatre. [26 May 1995]
    • The Globe and Mail (Toronto)
    • 37 Metascore
    • 25 Critic Score
    P2
    A pointless thriller.
  19. It is sincerely, painstakingly and astonishingly awful.
  20. Blowing up bad guys, swearing, and lots of cliches makes the The Last Boy Scout a must to miss. [16 Dec 1991]
    • The Globe and Mail (Toronto)
    • 39 Metascore
    • 25 Critic Score
    ALAN J. Pakula's name may seldom be associated with movies of dazzling brilliance, but you can generally rely on him for entertaining, first-rate work, like All the President's Men, Sophie's Choice and Presumed Innocent. He's let us down badly with Consenting Adults. [20 Oct 1992]
    • The Globe and Mail (Toronto)
    • 35 Metascore
    • 25 Critic Score
    An achingly sincere but often staggeringly inept attempt to introduce Walsch's message to movie audiences.
  21. 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.
    • 43 Metascore
    • 25 Critic Score
    Not much happens of comic consequence. [01 Nov 1996, p.D5]
    • The Globe and Mail (Toronto)
    • 30 Metascore
    • 25 Critic Score
    A film like Endless Love comes about as close to reality as a Hobbit sequel, only without a single dragon to remind impressionable viewers that they might not want to take it literally.
  22. The best part of Jonah Hex is Josh Brolin on a horse. Especially when he's not saying anything, just moseying into or out of town. Too had he never moseys into a better movie.
  23. If plots were people, this obese thing would be cuing up for liposuction. Mr. Brooks may well boast the greediest yarn in the annals of filmdom. One serial killer just doesn't cut it – no fewer than four, actual and potential, pack these frames.

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