The Globe and Mail (Toronto)'s Scores

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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
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  1. The History of Sound
    This is not a film to easily swoon over, but mournfully contemplate.
    • 64 Metascore
    • 50 Critic Score
    Fast Food Nation
    A frustratingly toothless film whose heart is in the right place even if its head isn't.
  3. Michael
    Dreadful as the subject matter is, the authenticity of the performances and the skill of Schleinzer's filmmaking are difficult to deny in this portrait of a monster as the bland guy next door.
  4. Serial Mom
    Water's kinky view of the world has simply been overtaken (hell, swallowed up) by the sheer warp of reality. [13 Apr 1994]
    • The Globe and Mail (Toronto)
  5. Synchronic
    Once the big twist kicks in, there’s plenty of gritty fun to be had, but patience is a hard-won virtue in genre filmmaking.
  6. The Tin Drum
    The Schlondorff version of The Tin Drum is never more than an intelligent reduction and simplification of an enormous and complex work of art. [26 Apr 1980]
    • The Globe and Mail (Toronto)
    • 63 Metascore
    • 38 Critic Score
    Dora and the Lost City of Gold
    Kids certainly won’t learn anything here, but they’re not likely to mistake it for entertainment, either.
  8. Tokyo!
    Perhaps it is inevitable as three foreign directors train their lenses on that unique island culture of the East that all three are propelled by fantasy or science fiction, and suggest more alienation from Tokyo than affection for the great city.
  9. Anna and the Apocalypse
    Show tunes meet "Shaun of the Dead" in the delightfully gruesome Scottish horror-musical Anna and the Apocalypse.
  10. Official Secrets
    While Rhys Ifans chews scenery as a scruff-faced foreign correspondent, Knightley plays it taut and believable, and, as we know, nobody walks on cobblestones better than she. The end result is a professionally made film that is whistle-blowingly relevant, starring an excellent actress who successfully comes in from her Pride & Prejudice past.
  11. 16 Blocks
    No one can dismiss 16 Blocks as a mere formula flick -- it's a mere two or three formula flicks all fighting for top billing.
  12. Unfaithful
    Since life's infidelities have a way of ending on a messy note, it becomes art's responsibility to impose order upon the mess, to give it an aesthetically convincing shape. And that's exactly where Lyne falls short.
  13. One True Thing
    Thrown into exalted company, Zellweger easily holds her own in the film's most difficult role.
  14. Sex Is Comedy
    This is amusing, and even poignant in the final moments.
  15. Mr. Nobody
    An ambitious, if uneven, experimental sci-fi romance that is less a thought-provoker than a dazzling juggling act.
  16. Monsters
    With Monsters, Edwards transcends the special-effects auteur label, creating a memorable sci-fi story in which the hero and heroine are true equals in the adventure. How's that for an alien concept?
  17. The Creator
    The homages that Edwards and his co-writer Chris Weitz make are honest, and instead of stealing the best ideas of other films, The Creator uses them as the source code to create a next-generation story that is pure, foot-on-the-gas entertainment.
  18. Southern Comfort
    The specifics of Hill's movie - and despite its straining for universality, it is all specifics - come approximately a decade too late; in the wake of Who'll Stop the Rain and Apocalypse Now (and even that great B-movie anti-war movie, The Big Red One), it sinks like an insignificant stone. [24 Oct 1981]
    • The Globe and Mail (Toronto)
  19. The Parent Trap
    It's an enjoyable film, carried along by the perennial strength of the story... But it won't have the staying power of the original.
  20. Babies
    Observant and funny and thoughtful too, powered exclusively by vérité footage without a word of narration, Babies is William Blake’s Infant Joy brought to rich cinematic life.
  21. Rumble Fish
    The most amazing thing about this amazing movie may be that in the end it communicates the large uncertainties and small hopes of a twisted, inarticulate adolescent boy perfectly, and wordlessly. [14 Oct 1983]
    • The Globe and Mail (Toronto)
  22. Don't Talk to Irene
    Don't Talk to Irene feels rote and re-hashed, despite the strength of its central character and the ungainly charm of McLeod's performance. Watching Mills' film, one wishes it were as weird and wonderful as Irene herself. It's almost as if the writer/director doesn't realize how rare his own creation is.
  23. Waydowntown
    Waydowntown may not be perfect, but it is perfectly astute in the target it selects and in the questions it raises.
  24. Secretary
    The movie isn't painfully bad, something to be "fully experienced"; it's just tediously bad, something to be fully forgotten.
  25. Drumline
    Comes close to collapsing under the weight of drawn-out scenes and an earnest story that piles on minor themes and subplots, but the energy and visual kick of the band numbers saves the day.
  26. Out of Time
    Out of Time is severely out of whack, and the problem isn't hard to locate: It's all that flab in the thriller. It's a suspense flick so pillowy soft that the star gets bumped from the centre of the frame and the comic relief sneaks in to swipe the picture.
  27. The Rage in Placid Lake
    A welcome rarity: an amiable film comedy that leaves you feeling good as opposed to feeling for your wallet.
  28. Misha and the Wolves
    Misha and the Wolves is as much a documentary as it is a wrestling match: filmmaker versus subject, truth versus fiction. Ultimately, the viewer comes out the winner.
  29. A Perfect Getaway
    Benefits from one standout performance: Timothy Olyphant ( Deadwood ) plays the part of Nick with ingratiating comic relish.
    • 63 Metascore
    • 50 Critic Score
    A Bridge Too Far
    Producer Joseph Levine has spared no expense but achieved very little in this $25- million all-star extravaganza. [16 Nov 1977]
    • The Globe and Mail (Toronto)
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