The Globe and Mail (Toronto)'s Scores

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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:
  1. Positive: 4,349 out of 7291
  2. Mixed: 1,826 out of 7291
  3. Negative: 1,116 out of 7291
7291 movie reviews
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  1. Anomalisa
    Yes, the filmmaker and co-director Duke Johnson laboured for years over this project, and their set design is often astonishing. But that doesn’t mean the film is a masterpiece, or even half a masterpiece.
  2. Poor Things
    So much of Poor Things, both in its conception and maturation, feels self-satisfyingly provocative instead of imaginatively profound.
    • 87 Metascore
    • 50 Critic Score
    Eraserhead
    A ghoul's dinner of undigested indelicacies pilfered from other horror feasts; the undeniable ability of the chef, director David K. Lynch, has been utilized to create a cream sauce in which the victuals cook without ever cooking together. [18 Sep 1979]
    • The Globe and Mail (Toronto)
  4. The Kids Are All Right
    Cholodenko casts much better than she writes. Yet, alas, even a talented veteran like Moore can't sell a hoary line like, "Sometimes you hurt the ones you love the most." Maybe if she'd set it to music – nope, sorry, that's already been done.
  5. Before the Devil Knows You're Dead
    The problem is not that the director is working but that his latest film is working too hard. Way too hard – this thing is melodrama running a marathon.
  6. The Silence of the Lambs
    The plot is squeezed dry in this bloody Valentine from Hollywood and becomes annoyingly predictable. Thriller stumbles on its own success
  7. The Fabelmans
    The Fabelmans contains reels’ worth of beauty and wit, all delivered with the honest and enthusiastic drive to entertain that has become Spielberg’s signature. But you will learn more about Steven Spielberg by watching almost any other Steven Spielberg film.
  8. The Last Days
    The Last Days' major flaw, perhaps, is its conventionality: It takes us over the same horrific ground in the usual way. The shock is familiar. [26 Mar 1999, p.C6]
    • The Globe and Mail (Toronto)
  9. Fire of Love
    While Dosa has a talent, and perhaps a fascination equalling her subjects, for illustrating the hidden beauty of the natural world, she ultimately crafts a film that is too neatly packaged.
  10. Hamnet
    [Buckley's] all-in performance is riveting, and well balanced by Paul Mescal’s quieter intensity as the Bard, making the film worth watching – but never rescuing it from the cheap biographical determinism of its third act.
  11. Star Wars: Episode VIII - The Last Jedi
    Ridley, full of charming spunk playing a skeptical rebel recruit in The Force Awakens, is the biggest disappointment here. She is less engaging now that she is committed to the fight and plays most of the later action on a single note of earnest desperation; Johnson's script leaves her little else.
  12. Who Framed Roger Rabbit
    Without warning, the picture falls hard into the very trap it had so studiously avoided, the one marked Expensive Gimmick... The same feature that begins like no film you've ever seen ends like every cartoon you've always avoided.
  13. Creed
    For the first time in the series, Stallone did not write the script, yet director Ryan Coogler and his co-writer Aaron Covington aren’t exactly brimming over with fresh ideas: Worn thin with repetition, the sentimental old premise muffles suspense and dampens emotion.
    • 82 Metascore
    • 50 Critic Score
    Star Wars: Episode V - The Empire Strikes Back
    Adds more cosmic cliff-hangers than it resolves, and it's not as satisfying as the original. A star war can be an exhausting bit of business, especially when, in the end, it turns out to be something of a cheat.
    • 82 Metascore
    • 50 Critic Score
    Life and Nothing More
    The acting is strong, but the uneven pacing means there is so much to absorb in the end, that it’s impossible to discern.
  16. Downfall
    The movie itself seems more familiar than fascinating, more innocuous than inflammatory, and, at 2½ hours, more tedious than anything else.
  17. The Assassin
    Every scene is perfectly framed, every symbol lovingly shot, but the story and the characters remain opaque.
  18. Short Cuts
    Altman shakes the camera like a two-bit horror director, and it seems a different sort of signature - less masterful than weary, less signed than resigned. Zero-sum, indeed.
  19. The Damned United
    Like a skill player who just can't score, The Damned United is all dazzle and no finish and, ultimately, damned frustrating.
  20. Fresh
    In dramatizing the rigours of the ghetto, Yakin stoops to hyperbolic plot devices that tend to erode the very empathy he's striving to create. Things are surely bad, but not that bad - unwittingly, he's demonizing people who deserve better, who are better. [02 Sep 1994]
    • The Globe and Mail (Toronto)
  21. A Simple Plan
    But the stuff looks like what it is -- trite imagery grafted over the narrative barrens, like a bad weave on a balding pate.
  22. Happiness
    It's not the subject matter itself that's offensive -- pedophilia is as worthy a topic of investigation as any other. Instead, it's the subject's non-treatment -- we don't learn a thing that rings true.
  23. District 9
    Yes, the premise is delightful; no, the delight doesn't last.
  24. Wake Up Dead Man: A Knives Out Mystery
    Exceptionally overlong, crammed with miscast performers putting in half the effort they should, and so overly pleased with its various (and rather middling) twists that it leaps from “clever” to “pompous” in one fell swoop, Wake Up Dead Man represents a hard and rough fall from grace.
  25. Incredibles 2
    Big, annoying, and mostly pointless.
  26. Lean on Pete
    The effortless richness of character that so thoroughly grounded Haigh’s Oscar-nominated "45 Years" and his critical darling "Weekend" is half-heartedly formed in Pete. There is a disquieting sense that the director has fallen prey to the poetics of space at the expense of the lives within it.
  27. Cyrano de Bergerac
    Cyrano De Bergerac, the latest cinematic adaptation of the Edmond Rostand classic, is a lavishly appointed film, a decidedly handsome film, a film that wears its money on its sleeve, a film whose beauty is skin deep. The movie always moves, but it's never moving. [30 Nov 1990]
    • The Globe and Mail (Toronto)
  28. I Am Love
    Despite a superb cast and a fabulous look, the picture collapses under the weight of its lofty pretensions, especially in the black hole of the last act, where it topples into near-absurdity.
  29. Silence
    For all that Silence is a gorgeous film filled with imagery that is sometimes startling and often compelling, the director sadly fails in a passion project decades in the making: This is a long and dull costume drama that seems to think a contemporary audience can picture faith as easily as it does a cassock, cross or kimono.
  30. Guillermo Del Toro’s Pinocchio
    The movie bites off way too much. It lumbers inelegantly between confrontations with grief and fascism. The performed seriousness of it all stifles most attempts at having fun, which makes this an even harder prospect for young audiences.
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