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. Ayurveda: Art of Being
    Although filmmaker Pan Nalin is a believer in Ayurveda,there is little in the film to convince anybody else.
  2. November
    The creative and experimental use of sound and photography are a big part of what makes November an intriguing film.
  3. Trishna
    Trishna, in short, seems to occur at too much of a remove; it's too fate-filled.
    • 45 Metascore
    • 63 Critic Score
    She's the Man
    Nothing classes up a teen movie better than the classics.
    • 49 Metascore
    • 63 Critic Score
    April Fool's Day
    Director Fred Walton (When a Stranger Calls) cheats shamelessly to effect the various surprises, but has so much of that "who-is-next?" tension going for him that the movie more or less makes itself. [01 Apr 1986, p.D9]
    • The Globe and Mail (Toronto)
  6. Down with Love
    A bit like having a detached retina. One keeps blinking and trying to get it into focus, but it never quite does. What, one wonders, is this movie doing here?
  7. I Love Boosters
    While a thrilling watch at many moments, there is also an overwhelming sense that politics and characters of I Love Boosters are struggling to find their full expression against the weight of the film’s undeniably spirited ambition.
  8. Big Fish
    The problem is, there's just not enough Burton in Big Fish.
  9. The Pillow Book
    There's as much to draw us in, but far less to put us off. [13 Jun 1997]
    • The Globe and Mail (Toronto)
  10. Minority Report
    More humdrum than horrible. It isn't futuristic film noir; it's just everyday film beige.
  11. The Black Phone
    The Black Phone is an enjoyable watch, for sure, but it lacks a certain agility, which keeps it from being as great as we want it to be.
  12. Non-Fiction
    It is a sadly out-of-touch tactic that recalls an old man yelling at the clouds (or, more accurately, cloud computing).
  13. Hoodlum
    Duke rarely operates at more than a TV movie-of-the-week level of originality, but Hoodlum is still an easy movie to enjoy.
    • 74 Metascore
    • 63 Critic Score
    Sully
    Thrilling when we’re on and around the plane (seeing that giant CGI bird splash down, especially on an Imax screen, makes you realize how improbable the whole enterprise was) and too often thudding when we’re not.
  15. A Scanner Darkly
    Smartly cast, in the sense that Reeves, gloomy and pained, and Harrelson, confused and explosive, both seem befuddled while Downey, as the devious, intellectual Barris, is befuddling.
  16. Money for Nothing: Inside the Federal Reserve
    Actor Liev Schreiber’s voice-over narration is filled with sonorous urgency, but as the film’s commentators acknowledge, some ideas are a hard sell: How do politicians and regulators convince the public on the benefits of a financial diet when a spending spree sounds much more fun?
  17. Working Girl
    The laughs in Working Girl are the laughs of near-recognition - just good enough to make us wish they were much better.
  18. Phenomenon
    In a film that offers itself as a Gump-esque moral fable, Phenomenon could serve as a case study of When Smart Films Fail.
    • 74 Metascore
    • 63 Critic Score
    Sir! No Sir!
    Informative and swiftly paced documentary.
  20. Jupiter Ascending
    A beautiful muddle.
  21. The Sacrament
    The tension fizzles as The Sacrament narrows into predictability, indulging every cliché of found-footage filmmaking and Jonestown-styled cult apocalypticism.
    • 70 Metascore
    • 63 Critic Score
    Casting By
    Casting By is also something of an elegy for a lost era, when talent, even at its rawest, stood far above prettiness as the primary reason for getting the part.
  23. All About the Benjamins
    This is a movie fantasy, folks -- like James Bond, without the smarm and martinis.
  24. Waking Ned Devine
    The wonder is that the cast -- a terrific ensemble with talents honed on such hallowed stages as the Abbey Theatre -- brings it off with far more verve than the slight tale deserves.
  25. Death at a Funeral
    Most British actors are awfully good at underplaying the overwritten, and this group, headed by Matthew Macfadyen, Rupert Graves and Daisy Donovan, is no exception -- where others would mug, they demitasse.
  26. Better Luck Tomorrow
    Like his characters, Lin may be an overachiever and the strain of trying to do too much shows. He merges genres the way Ben juggles extracurricular activities.
  27. Fighting with My Family
    After all, it’s a movie about professional wrestling – the blows may feel real, but the match is fixed from the very beginning.
  28. The SpongeBob Movie: Sponge Out of Water
    Save for some halfway inventive touches, such as a meta-turn that evokes Chuck Jones’s surrealist Merrie Melodies short Duck Amuck, Sponge Out of Water coasts on its 3-D CGI shtick, sacrificing the giddy whimsy that recommends the SpongeBob series for more boringly Hollywood whiz-bang action.
    • 66 Metascore
    • 63 Critic Score
    I.Q.
    Although the screenplay by Andy Breckman and Michael Leeson is wittier than most, it overshoots its screwball target by a wide margin, and what was initially blithe and charming ends up as merely silly. [24 Dec 1994]
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 63 Critic Score
    Some Kind of Hero
    It's obvious Some Kind Of Hero was never meant to be more than what it is - a cute "uplifting" comedy - but Pryor's performance pushes your expectations. It makes you wish someone would give him an honest dramatic part, and that he could work with a director who wouldn't let him get away with his transparent heart-tugging tricks. Director Michael Pressman has a good touch with his actors, but falters structurally to accommodate Kirkwood's script. [3 Apr 1982]
    • The Globe and Mail (Toronto)
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