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 3 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. Benny's Video (1992)
    Documentaries show us what can be seen; fiction features, to qualify as art, should visualize for us the usually unseen. Benny's Video, in which the thought processes of the characters are never delivered to the camera, is all surface. Its implicit claim is that by doing nothing, it is doing everything. But there are times, and this is one of them, when less is merely less. [27 Mar 1993]
    • The Globe and Mail (Toronto)
    • 60 Metascore
    • 50 Critic Score
    They Came Together
    Poehler’s Parks and Rec co-star Adam Scott is there, playing a sound engineer and so is John Stamos from "Full House," because, you know, that’s funny. Until it’s tiresome.
  3. Isn't It Romantic
    The two actors at the centre of these high-concept comedies are good, giving and game, but they’ve been cut a raw deal by trite material that belittles their very existence.
  4. Red Dragon
    Our time is plagued with primitive directors toiling in the name of entertainment, and protected by an industry that rewards competence over excellence. They're the reason why this movie is simply average, and why all the Red Dragons look so uniformly beige.
  5. The Beaver
    Clearly, the screenplay is looking for some black comedy here, but Foster's direction is too earnest to locate it.
  6. Calendar Girls
    Both Mirren and Walters are successfully cast against type.
  7. Gray's Anatomy
    Here, Soderbergh's visual additions -- gimmicky lighting, surreal backdrops, all cued to the monologue's changing rhythms -- are more distracting than enhancing. Or maybe not. In a way, the camera's empty gimmickry points to the same tendency in Gray's verbal canters -- diverting enough but, ultimately, isn't it just sleight-of-mouth? [18 April 1997, p.C5]
    • The Globe and Mail (Toronto)
    • 60 Metascore
    • 50 Critic Score
    The Iceman
    Michael Shannon is an overpowering actor, and in The Iceman, the best that he can do is wrestle the movie around him to a stalemate.
  9. Mighty Aphrodite
    Fans of Allen, the comedian, will be glad to hear there are more chuckles here than in his last film, "Bullets Over Broadway." Fans of Allen, the plot craftsman, will find a lot less discipline and imagination in the writing. In truth, Mighty Aphrodite is mighty slight.
  10. All Day and a Night
    All Day and a Night offers renewed hope for Wright acolytes, all while reaffirming a new star in Sanders.
  11. The Godfather: Part III
    More than merely another bad movie, it's the most depressing development yet in Coppola's career. It's a would-be cash cow bred cynically to excrete money, the arty answer to "Child's Play 2" or "Back to the Future III."
  12. Fuze
    It is the kind of screenplay that erases itself with one minute of second thought.
  13. Under the Silver Lake
    There is an occasional sense of self-awareness that this is all pointless and silly, but 139 minutes is a long time for a film to forgo even delayed gratification.
  14. What About Bob?
    But there's still Murray, who drives the idea further than it has any right to go. He energizes the loony schtick of the opening scenes. [17 May 1991]
    • The Globe and Mail (Toronto)
  15. Fast & Furious Presents: Hobbs & Shaw
    So for now, I’m going to go lay down, chuckle at the film’s inventive ridiculousness and try not to think too hard about anything at all. It’s what Hobbs and Shaw would want.
  16. Madagascar 3: Europe's Most Wanted
    The clever lines and themes of friendship and finding home are almost completely overwhelmed here by the breathless pace and sensory overload.
    • 60 Metascore
    • 38 Critic Score
    Wayne's World 2
    THE dead end of desperation comes about three-quarters of the way into the joyless, uphill slog that is Wayne's World 2. [11 Dec 1993]
    • The Globe and Mail (Toronto)
  18. Gifted
    The resolution of that conflict is dishonestly implausible, thus ruining a perfectly mediocre movie. The worst of it is that Fred the one-eyed cat was probably winking at us the whole time.
    • 60 Metascore
    • 63 Critic Score
    Lone Survivor
    This is a contemporary war-is-hell account in which hell burns so intensely that it scorches the firewalls of the mundane world around it. But it doesn’t burn them down.
    • 60 Metascore
    • 63 Critic Score
    Smallfoot
    Where Smallfoot shines, though, is – like Warner’s Looney Tunes and Animaniacs before it – its slapstick physical comedy.
  21. Treasure Planet
    This concoction, so bizarre to the adult mind, is actually a charming triumph where its intended under-12 audience is concerned.
  22. House of Gucci
    House of Gucci is a movie about a family at war with itself – yet Scott’s film is engaged in its own distracting skirmishes, with battles messily waged over tone, genre and performance.
  23. Being the Ricardos
    With some deft trimming, Being the Ricardos could be a fine HBO Sunday night movie “event,” as they used to be (or still are?) called. But as it is, this is less a cinematic thing and more an elaborate joke without a kicker. As Lucille Ball might say: waaaaaaaah.
  24. Bad Moms
    Although all these actors prove the shrewd casting choices of Bad Moms, it is Hahn who makes this unassuming summer blockbuster something close to stellar.
  25. Mamma Mia! Here We Go Again
    The key to the franchise is that Mamma Mia! never takes itself seriously: This time out, the joy is giddy but the sentiments are cloying; the musical scenes are mainly delightful, but quieter moments often fall flat.
  26. Life of Crime
    All this is more amusing in theory than practice, partly because Leonard’s world of wiseguys and slapstick violence has become so familiar – the caper-movie default mode.
  27. Nell
    Nell is a good movie made great by the lambent presence of Jodie Foster. [23 Dec 1994]
    • The Globe and Mail (Toronto)
  28. Celeste and Jesse Forever
    So why are they divorcing, you ask. Who knows? Certainly not the creators of the very confused Celeste and Jesse Forever.
  29. Under the Same Moon (La misma luna)
    If Under the Same Moon is formula melodrama, the film is well acted and its lead character perceptively drawn.
  30. Midnight Express
    Alan Parker has directed the film as if he were a sniper: you never know when you're going to get hit next, but from the first moments you know you're being aimed at. The opening, with Hayes taping hash to his chest only to be apprehended at the airport, must have looked like standard stuff in Oliver Stone's script, but on screen it's unadulterated adrenalin, filmed with fast cuts timed in counterpoint to the sound of Hayes' pounding heart. [25 Oct 1978]
    • The Globe and Mail (Toronto)
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