The Globe and Mail (Toronto)'s Scores

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For 7,293 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: 4,350 out of 7293
  2. Mixed: 1,827 out of 7293
  3. Negative: 1,116 out of 7293
7293 movie reviews
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    • 65 Metascore
    • 88 Critic Score
    Dim the Fluorescents
    With his debut feature Dim the Fluorescents, Toronto filmmaker Daniel Warth has created an astonishing calling card – an earnest and entertaining celebration of process and performance, not to mention a tremendous showcase for two homegrown actors on the cusp of greatness.
  2. Darkman
    There are lively, compelling scenes, particularly in the first hour - Raimi has an indubitable talent for camp mayhem - but the picture escalates into absurdity and the last half hour, essentially a chase sequence, is marred by suprisingly cheesy special effects. [24 Aug. 1990]
    • The Globe and Mail (Toronto)
  3. Vincent & Theo
    For all its merits - a lush canvas, a first-rate cast, a thoughtful director examining a theme directly relevant to his own checkered career - Vincent & Theo doesn't quite measure up. [16 Nov 1990]
    • The Globe and Mail (Toronto)
  4. Oliver Twist
    So what's surprising here isn't Polanski's choice of material but his utter failure to put any distinctive stamp on it.
  5. Hostiles
    Like Clint Eastwood's "Unforgiven," the underlying tension involves the protagonist's journey to regain his humanity. Hostiles, a hotbed of hostility.
  6. The We and the I
    Still, credit Gondry, like Tocqueville before him, with at least re-examining tired clichés and scraping the rust off stereotypes.
  7. Sharper
    When the narrative knife is as dull as it is here, there is just no fun in bleeding out. If Caron and his collaborators don’t learn their lesson, though, at least we will. Work smarter, not Sharper.
  8. The First Omen
    While unable to fully deliver on the promise of its artistic potential, The First Omen remains, nonetheless, a fun, low stakes introduction for horror newbies to The Omen franchise and an enjoyable enough tribute to the original film (offering, also, a more contemporary take on visualizing the grotesque).
  9. Soapdish
    This broad farce about a group of soap-opera stars is played at a hysterical pitch, but there are some real chuckles amid the mayhem. [31 May 1991]
    • The Globe and Mail (Toronto)
      • Posted Jun 28, 2017
  10. Hanna
    It's one of those imperfect pictures that manages to command and hold our attention straight from the opening frames.
  11. Lone Wolf McQuade
    Lone Wolf gets mad as a bee-stung boxer dog. [18 Apr 1983]
    • The Globe and Mail (Toronto)
  12. Pacific Rim
    Of all this year’s loud, over-long summer action movies that, in various ways, simulate the experience of having a tin bucket placed over your head and being struck repeatedly with a stick, it must be said that Guillermo del Toro’s Pacific Rim is by far the most entertaining.
  13. The Smashing Machine
    Safdie recognizes that The Smashing Machine is a single-purpose invention, one built to run on the blood, sweat and sometimes even the tears of Dwayne Johnson. Consider the act of watching the movie a double dose of cinematic benevolence: rewarding yourself, and saving the star from his own worst Hollywood instincts. Two birds, one Rock.
  14. Swallow
    This is a movie that cries out for attention, in ways both admirable and grating.
  15. We Were Soldiers
    If the action is graphic and immediate, other aspects of the movie are inexcusably bad.
  16. L'Auberge Espagnole
    A film whose limitations are the same as its appeal: It's a bauble. Running at barely more than 80 minutes, the film is both a travelogue and a commercial for swinging polyglot Europe.
  17. Cocoon
    The people behind Cocoon have taken many of the weariest of the cinematic cliches of the eighties and invested them with hearts and minds; from an unsightly chrysalis, a thing of beauty has been born. [21 June 1985]
    • The Globe and Mail (Toronto)
  18. Harry Potter and the Deathly Hallows: Part I
    The tale is about meeting Death and comes with this moral: When The End arrives, better to embrace it with love than to try to cheat it with avarice. Hey, if nothing else, Part 1 has got some nerve, so greedily refusing to practice what it earnestly preaches.
  19. GoldenEye
    For devotees of the genre, the bad news is the best news: Bond is back and nothing has changed except the stuntman's canvas - it's bigger than ever, duly pumped up to Schwarzeneggarian standards.
  20. The Fantastic Four: First Steps
    The Fantastic Four is here for a proper reset – a buoyant and frequently dazzling one at that, which sort of makes up for the failed movie adaptations of Marvel’s first family from the past.
  21. In My Mother's Arms
    Roughly-made but illuminating, the Iraq documentary In My Mother's Arms is a brief immersion into life in a Baghdad boys' orphanage.
  22. The Lovers and the Despot
    It’s a fantastically bonkers story told excitedly in The Lovers and the Despot, a stranger-than-fiction yarn that would make a hell of an opera.
  23. Down in the Valley
    Down in the Valley is one of those pictures you root for even when it goes badly wrong.
  24. The Year of Living Dangerously
    The Year of Living Dangerously is chic, enigmatic, self-assured - and empty. [18 Feb 1983]
    • The Globe and Mail (Toronto)
  25. In a Better World
    Give director Susanne Bier full marks: Her encasing parable is brand new and immediately provocative.
  26. Touch Me Not
    It’s not that every film has to achieve some grand epiphany, but Touch Me Not is not nearly as satisfying as the primal act it’s obsessed with.
  27. Point and Shoot
    Point and Shoot is a riveting documentary and a disturbing portrait of a pampered American’s “crash course in manhood.”
  28. Agnes
    From the cult Oklahoma director Mickey Reece, the horror film Agnes is funny – both funny ha-ha (in sly ways) and funny-peculiar all around.
  29. Photograph
    The Mumbai-set Photograph is a gentle romance cleverly told, and not without humour.
  30. Last Breath
    The underwater cinematography, orchestrated by Nick Remy Matthews, is often startling, destined to make the dark box of a movie theatre all that more engagingly claustrophobic. And the ultimate story behind Last Breath is incredible, verging on the unbelievable.
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