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. Blue Car
    Feels like a bit of an emotional mugging.
  2. Surviving Progress
    Though often fascinating and beautiful to look at, Surviving Progress falls into the adapting-a-book-into-a-movie trap. Trying to do too much too fast.
  3. Invasion of the Body Snatchers
    The re-make, directed by Philip Kaufman, has lost its intellectual innocence and throws in everything from Chariots of the Gods to recombinant DNA - it's as clever and hip as a New Times investigative piece. Paradoxically, by being so smart, the re-make seems a bit dumber than the original. But it's dumb in a nice way. [22 Dec 1978]
    • The Globe and Mail (Toronto)
  4. Raising Arizona
    The whole caper loses its rhythm and its direction around the two-thirds mark. By the finish, the punch has left the lines, and the once-purposeful energy goes mindlessly manic - gone are both the point and the parody.
  5. Hellboy
    It's a treat because, making no apologies for the source material, director Guillermo del Toro lets his picture gorge on power bars of pop energy, sugared with sprinkles of playful humour, and, at least twice, laced with a visual style so piercingly keen that horror morphs into beauty. Not bad for a pulpy outing.
  6. The Names of Love
    The film is sometimes funny and occasionally smart yet never quite what it wants to be – funny and smart at the same time.
    • 49 Metascore
    • 63 Critic Score
    Open Season
    The film wraps mindless cartoon violence and a few fart jokes around life lessons about friendship and responsibility. Kids should like it; parents won't mind it.
  8. Phantom Thread
    Perhaps this is Anderson's version of a parlour game – walk into Phantom Thread expecting a portrait of a testy male genius as portrayed by another testy male genius, but be gifted with a stealth drama about the hidden lives of the women who suffer in his shadow.
  9. 42
    In the hallowed frames of 42, the legend is front and centre and still inspiring. Too bad the more interesting man is nowhere to be seen.
  10. The Green Butchers
    Black comedies don't get much darker than this.
  11. The Whale
    The one overwhelmingly positive thing that you’ve heard about The Whale is true: Fraser does a remarkable job.
  12. The Forbidden Kingdom
    Although veteran choreographer Yuen Woo-Ping ( Kill Bill, The Matrix) handles the wire action, the camera work is merely okay and the sequences are on the familiar side. Still, it's fun to see Chan resurrect his loopy, staggering "drunken master" fighting style.
  13. School of Rock
    A picture with pop's delicious energy yet none of its attendant risk, a flick that no one will love but everyone will like.
    • 64 Metascore
    • 63 Critic Score
    Renoir
    Gilles Bourdos’s film is more conventional than its mould-breaking subjects deserve.
  15. The Sleepover
    A giddy and fitfully amusing mashup of "Adventures in Babysitting," "Date Night," the Spy Kids franchise and, um, "Wet Hot American Summer," The Sleepover is the latest entry in Netflix’s experiment in catch-‘em-all entertainment.
  16. Enola Holmes
    Executed with more energy than either of Guy Ritchie’s recent blockbusters, and with Henry Cavill acting as a more suave Sherlock than Robert Downey Jr., director Harry Bradbeer’s adventure is a perfectly fine piece of Holmes-ian content, if not a work of actual, you know, cinema.
  17. Rock the Kasbah
    Baby it’s a wild film, but not Murray’s best and not Levinson’s either.
  18. Haywire
    Serving as his own director of photography under the pseudonym Peter Andrews, Soderbergh picks his angles artfully and allows Carano to demonstrate her arsenal of acrobatic fighting tricks in extended, no-cheating single takes.
  19. Mulan
    Mulan is another competent effort, but it's a disappointment for anyone hoping the studio would raise the standard of the animated feature to a new level.
  20. Trance
    Individually, Dawson and Cassel each generate plenty of screen heat, but, together in that one bedroom scene, their chemistry is downright explosive, so much so that it seems we have strayed into a whole different movie, and dearly want to stay there.
  21. The Hero
    The best thing about the film is the bromance between Lee and his weed dealer, Jeremy (Nick Offerman), which deepens into loveliness in one memorable scene.
  22. Sicario: Day of the Soldado
    This is a much more conventional film with fewer pretensions to high art. Violence exploited for mere entertainment is so commonplace it hardly seems worth noting.
  23. Desperately Seeking Susan
    The plot contracts classically as it approaches its delectably bizarre climax but Desperately Seeking Susan never achieves the hilarity it promises; it's a pleasant enough picture, and it has a bona-fide look, but it lacks a style. It also lacks the qualities essential to farce - pace, verve, timing, surprise. [02 Apr 1985]
    • The Globe and Mail (Toronto)
  24. Golden Door
    As lovely to look at as it is dramatically inert.
  25. The Sun Is Also a Star
    Perhaps it’s the film’s predictability (and delightful corniness) that contributes to its charm.
    • 72 Metascore
    • 63 Critic Score
    Under Fire
    The film's dramatic and thematic ends could have been served just as well, if not better, by skipping the invention and sticking to the no less gripping figures and the no less wrenching dilemmas that history actually provided. [21 Oct 1983]
    • The Globe and Mail (Toronto)
  27. Paris-Manhattan
    The premise of Paris-Manhattan is simple enough; unfortunately, so is everything else about writer-director Sophie Lellouche’s debut feature film.
  28. Paradise Now
    As a thriller, it's only fitfully suspenseful, and despite the ticking bomb premise, meanders a good deal in its plot convolutions. As a portrait of the absurdity and humiliation of life under occupation, the story is heartfelt but predictable.
  29. To Rome with Love
    The current postcard from abroad is not great, but not grating.
  30. Land Ho!
    Land Ho! is both loose (shot over 18 days, with an improv quality to the acting) and overcalculated in its series of encounters, small revelations and life-affirming beats. The movie is pleasant and mostly forgettable, except for the character of Mitch.
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