The Globe and Mail (Toronto)'s Scores

Select another publication »
For 7,299 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 2.9 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: 4,355 out of 7299
  2. Mixed: 1,828 out of 7299
  3. Negative: 1,116 out of 7299
7299 movie reviews
view
per page
  1. Absolute Power
    The content is eminently forgettable but the thing has definitely got style.
  2. Wedding Crashers
    There's little doubt a person can get a little pent-up looking for a good romantic comedy -- but you might want to save yourself until something better comes along.
  3. The Moneychanger
    The Moneychanger has fun on its road to a predictable ending. You won’t feel cheated, but you might think you overpaid.
  4. The Craft: Legacy
    If the scariest thing to you is David Duchovny in a tight black T-shirt lecturing a group of 15-year-old women about how men need to take back their power, then The Craft: Legacy is a success.
  5. You, Me and Dupree
    The resolution includes an overlong and underfunny chase scene.
  6. Radius
    The filmmakers make excellent use of the Manitoba shooting location (perfect for an eerie mood of societal isolation) and the story's key theme – can we be responsible for things that are out of our control? – is a compelling one. Unlike its lead characters, you can safely, if not eagerly, approach Radius without fear of dying.
  7. Summer of Sam
    It's a kaleidoscope of ideas that range from exciting to silly and gaudy.
  8. The Brothers Grimsby
    When the film’s pace slows down every now and then, and Cohen gets room to breathe, the film is a genuine riot.
  9. The Trip to Spain
    Over all, the food porn was played down, the series is getting a little road-weary and who knows what happens with these guys next. If they’re thinking about heading to France, a horny Frenchman has some good advice: Paris can wait.
  10. You've Got Mail
    This is filmmaking as a minor feat of engineering, the kind where even the gossamer emotions seem like prefab components -- charm, whimsy, serendipity, all so many discs plugged into the hard drive.
    • 70 Metascore
    • 63 Critic Score
    The Science of Sleep
    It's this edge that saves The Science of Sleep from its own whimsy.
  12. Elle
    For all its cleverness, Elle suffers, like many a thriller, from an unmasking that proves less intriguing than the original mystery and, in its misogyny and its misanthropy, the film ultimately proves less interesting than it believes itself to be. Mainly, it leaves a bitter taste in the mouth long after the credits roll. Like Michèle herself, Elle is a nasty piece of work.
    • 68 Metascore
    • 63 Critic Score
    The Homesman
    While it’s true that landscape is character in most westerns, it’s also true that the character played by director/co-writer/star Tommy Lee Jones in The Homesman is landscape itself.
  14. The Dinner
    Besides psychological drama, besides thriller, social satire is another significant element in this sometimes erratic film and it’s one that, surprisingly and belatedly, rises to the top: Anyone who started out thinking The Dinner was a thriller will probably be disappointed when the evening wraps up with an ending that is more farce than denouement.
  15. The Fall of the American Empire
    The core trio are smooth and amusing in their roles, but the larger plot is filled with painful stereotypes, from a tough female cop to various black gangsters. Meanwhile, as the sympathetic criminals try to outwit police, the social theme remains unfocused – despite heartfelt pleas for street people, especially the homeless Inuit of Montreal.
  16. Garfield: A Tail of Two Kitties
    The stellar array of British talent (voicing the various farm animals) and Murray (whom one suspects has rewritten Garfield's lines to be Murray-esque) give Garfield: A Tail of Two Kitties all its energy and make the human actors -- even comedian Connolly -- look and sound like square panels in a two-dimensional comic strip.
  17. House of Sand
    Whatever The House of Sand may lack in curb appeal, that view from the roof will have you gasping in wonderment.
  18. Suck It Up
    The childish manner in which Glowicki plays impulsive, irresponsible Ronnie makes it hard to develop sympathy or understanding toward the character. It's a problem in an otherwise gentle diversion of a film.
  19. In the Valley of Elah
    In the Valley of Elah dearly wants to be the Iraq war's counterpart to "Coming Home," documenting the tragic domestic legacy of a misguided foreign conflict. Wants to be, but isn't.
  20. Low Down
    Two jazz films won awards at Sundance this year. One of them was "Whiplash"; the other was Low Down, an expressive but somewhat lacklustre first feature from Jeff Preiss. Neither movie is about jazz.
  21. The Way Back
    It’s a solid effort. There are guts here, just not quite enough glory.
  22. Chaos Theory
    When you watch Canadian actor Ryan Reynolds, there's often a sense that you're not just watching him perform in a movie, you're watching the next stage of his unfolding career plan.
  23. Streets of Fire
    Walter Hill is a master moviemaker, and when Streets of Fire is speeding by like Mercury on methedrine, the rush left in its wake cancels out questions of content. But the minute the momentum slows, it's another story - a story about a movie with no story at all. [01 June 1984]
    • The Globe and Mail (Toronto)
  24. RoboCop
    Though this RoboCop can’t come close to capturing the clever-silly audacity of the original, one area in which the current film easily surpasses it is in the quality of the cast.
  25. Spanglish
    There's a wonderfully subversive film buried somewhere in Spanglish, but it's never allowed to get out.
  26. Holidate
    The movie surprises on almost every level, breaking a number of contemporary rom-com rules along the way thanks to Tiffany Paulsen’s self-aware screenplay. I don’t mean in the meta-satirical sense of, say, David Wain’s absurdist They Came Together. More like a watered down Nora Ephron project.
  27. Late Marriage
    Up and down, Late Marriage is definitely rocky, but there's never a point where we lose interest and want out -- as relationships go, that's not bad.
  28. The Safety of Objects
    It's a movie located in an interesting place, but without quite enough self-confidence really to inhabit it.
  29. People I Know
    In the midst of material that's dusty and dated, People I Know somehow feels apocalyptic. How is this possible? Easy: When America's liberal conscience is in the sole care of a publicist, you just know the world's going to hell in a handbasket.
    • 41 Metascore
    • 63 Critic Score
    Dumb and Dumber
    An atrocious movie. An offensively stupid movie. A movie so witless and so crammed with bathroom humour that you will be deeply thankful for the darkness that envelops you - it lets you hide the fact (disturbing as it is) that you do laugh at the antics of Jim Carrey and Jeff Daniels, in spite of yourself.
Page:

Top Trailers

See all »
See all trailers »