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. Fireball: Visitors from Darker Worlds
    The humour doesn’t go nearly as deep as the science of “looking eternity in the eye,” resulting in a neat-enough educational experience, if not a fulfilling work of documentary cinema.
  2. Nerve
    Nerve looks fabulous and the pace is evenly adrenalized, which makes up for clichéd characters, a concocted premise and commentary that is a bit on the nose.
  3. The Darkest Minds
    The storytelling is bald and the logistics remain vague. The adult characters, especially a sadistic prison guard, are laughably overblown and the simplistic dialogue betrays the script’s YA roots.
  4. The Brothers McMullen
    Respectable by the tube's standards, even a cut above dumbed-down Hollywood, but hardly the stuff of creative renewal.
    • 73 Metascore
    • 63 Critic Score
    Bill Nye: Science Guy
    It’s a by-the-numbers profile, complete with the requisite visit to his childhood home, but, partway through, it becomes a rather piercing portrait of a man constantly doubting himself – while he studied under Carl Sagan, he lacks a PhD and is therefore, in the eyes of his detractors, not a real scientist – and struggling with his celebrity.
  6. 30 Days of Night
    Like most kiddies games, this one starts out fun and then gets tired. Inevitably, that's when Slade tries to revive our interest by upping the gore quotient.
  7. Permission
    Ultimately, the film becomes a love letter to Hall, and that's what saves it. She's such a beautiful, prickly, intelligent, singular presence that you root for Anna, no matter how many questionable choices she and the film make.
    • 63 Metascore
    • 63 Critic Score
    How She Move
    Dialogue isn't Morais's strength, and it's only when the actors stop trading “Just give me a chance” chestnuts that the film really takes off. The deftly shot dance sequences are entirely satisfying, thrillingly choreographed by Hihat (most famous for her work with Missy Elliott) to music by the likes of Lil Mama and Toronto's Tha Smugglaz.
  9. Two Girls and a Guy
    And the climax, where fake tears suddenly become real, doesn't ring true. By then, nothing does, leaving the film's successful deception to double as its eventual failure -- cast adrift in this fog of appearances, we appear not to care.
  10. Nymphomaniac: Volume II
    Volume 2 picks up the story with an older Joe, now played by Gainsbourg, with her watchful sad face showing the character’s unsatisfied hunger. It seems more von Trier’s script than any great social taboos that cause Joe to go into free fall in a world that becomes more kinky and sinister.
  11. Dheepan
    For a while, it’s quietly meditative and riveting – worthy of the Palme d’Or it captured last spring in Cannes. But in the film’s final 10 minutes, Audiard lets his bombastic sensibilities loose, creating an over-the-top revenge tale that’s bewildering.
  12. Hearts Beat Loud
    The film hums to tepid indie-pop and is sentimental to a fault, but the cast is a soulful bunch (including Toni Collette and a wonderful Ted Danson) who breathes life into a film that is all heart.
  13. The Infiltrator
    Unfortunately, the script is held together with something much less adhesive than, say, Amy Adams’s "American Hustle" blouse tape.
  14. Lost in La Mancha
    Gilliam himself is a joy to behold. His wit stays sharp even as his fortunes dull, and the conditions that conspire against him only prove the mettle in our man of La Mancha.
  15. Charlotte's Web
    It's not exactly radiant, but at least the movie's a little bit humble.
  16. The Disappearance of Finbar
    Narrative-driven and determinedly unpredictable, The Disappearance of Finbar is true to its mandate as a mystery story to a fault. [18 Jul 1987]
    • The Globe and Mail (Toronto)
  17. Madame Satã
    Truly strange, and often captivating.
  18. A Royal Affair
    For all its incident, A Royal Affair is slow and picturesquely framed – more of a languorously animated coffee-table book than a gripping drama.
  19. Velvet Goldmine
    The movie is dramatically limp, running out of narrative steam long before the set decorator runs out of colours.
  20. Hope Floats
    This is a frustrating film that takes its cutesy title way too literally.
  21. U.S. Marshals
    Who really wants to go to an escape movie and have to work this hard to figure it out?
  22. Muppet Treasure Island
    Broad, loud and crammed full of costumed characters and stage asides about the poverty of the script, it's typical pantomime, with a thin plot on which to hang the over-the-top performances and light-hearted musical numbers (by Barry Mann and Cynthia Weil). [16 Feb 1996]
    • The Globe and Mail (Toronto)
  23. Thumbsucker
    So no one would argue that Thumbsucker sucks. But the thing does seem just so indie-movie familiar.
    • 72 Metascore
    • 63 Critic Score
    Broadway: The Golden Age, by the Legends Who Were There
    It takes more than a fan to analyze the legacy of a period. But a fan is just what it takes to indulge in that legacy, which is exactly what Broadway: The Golden Age is all about.
  25. The Game
    This sort of flick can be fun, and there are moments here when it is, when a suddenly shifting perspective tosses us for a dizzying loop. Then again, there's such a thing as too much fun and too many moments -- at over two hours, this particular game meanders on way past its welcome.
  26. Derailed
    A movie so hysterical it worked best as a black comedy.
  27. The Prince of Egypt
    Certainly spectacular -- an elaborately designed combination of animation and computer-generated imagery -- but at times it's a spectacular bore.
  28. Equity
    The key problem is the figure of Naomi, clawing her way to the top and desperate to stay there. Gunn plays her as mightily determined and potentially abrasive.
  29. Blade II
    Though superior to the original Blade, the superiority is mostly in the myriad ways the "suck-head" enemies can be blown up, melted and dismembered.
  30. Hellbound: Hellraiser II
    Clive Barker is not without a sense of humor. And he's certainly not without a sense of what will scare his audiences senseless. [28 Dec 1988]
    • The Globe and Mail (Toronto)
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