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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    • 58 Metascore
    • 38 Critic Score
    Before I Fall
    Before I Fall takes the premise of Harold Ramis’s rom-com and drains it of soul, soft touches and humorous pathos, plodding through its message of being a better person with all the sprightly grace of a sedated subterranean rodent being dragged out of a pretend hibernation den.
  2. Life in a Day
    It's the sort of big thought that makes a small point, which is precisely the problem with Life in a Day. A documentary that looks to give this notion visual form, it strives awfully hard for depth but, more often than not, comes off too shallow.
  3. August: Osage County
    Although a couple of performances here may earn Oscar nominations, by the time you’ve sat through the wreckage, you’re left with the sense that this really must have worked better onstage.
  4. It: Chapter Two
    It Chapter Two is a film in need of a good ending. How badly it needs that ending is never in question, either. Hell, the movie cries out for help on the subject.
  5. The Mist
    I wouldn't say this is laugh-out-loud risible, but there are definitely moments. Still, you might want to consider sitting through the uneven thing just to get to the ending, because that's quite something. You may love it, you may hate it, but forget it you won't.
  6. F9: The Fast Saga
    F9 is a welcome blast of fizzy action glee. You won’t come out of it a better or smarter person – quite possibly dumber! – but you will leave satisfied that your summer movie season wasn’t a completely life- and joy-less bore.
  7. X-Men: The Last Stand
    With more superheroes, more action and more stuff blowing up than ever before, X-Men: The Last Stand has the climactic oomph that suggests a finale, though not the gravitas to suggest a resolution.
  8. You've Got Mail
    This is filmmaking as a minor feat of engineering, the kind where even the gossamer emotions seem like prefab components -- charm, whimsy, serendipity, all so many discs plugged into the hard drive.
  9. Jarhead
    The result is a war picture that, trying to pass off fidelity to the book as objectivity, sacrifices any voice of its own, and ends up not knowing what to think.
  10. Cosmopolis
    The trouble with Cosmopolis, David Cronenberg's faithful-to-a-fault adaptation from Don DeLillo's 2003 novel, is that it's more metaphor than meat.
  11. Class Action
    It's an undemanding yet bright delight. [16 Mar 1991]
    • The Globe and Mail (Toronto)
  12. Footloose
    While dance sequences are not particularly well edited compared to the new breed of dance flick, Wormald and Hough are exciting hoofers to watch.
  13. Jason Bourne
    While Jason Bourne isn’t half-bad as an action movie, it is a nakedly hollow exercise in resuscitating brand loyalty.
  14. Love Liza
    In its component parts, then, Love Liza is essentially a battle between opposing clichés.
    • 58 Metascore
    • 63 Critic Score
    Kansas City
    Time and again, the story simply stops for another tune from the band. Then again, without the buoyant sounds of Moten Swing, Tickle Toe, Yeah Man and the rest, Kansas City would be an even less appealing film than it already is. [16 Aug 1996, p.D5]
    • The Globe and Mail (Toronto)
  16. Disclosure
    Disclosure is a well-acted, slickly directed shell of a picture. The veneer is so polished that you look on with something approaching genuine satisfaction, and only after the final credits roll do you begin to feel the void.
    • The Globe and Mail (Toronto)
  17. Victoria and Abdul
    Frears has attempted to fashion a contemporary message of diversity and inclusion delivered by a tolerant and culturally inquisitive Queen in opposition to her hide-bound and racist courtiers, but in the end that theme is undercut by the film's own Eurocentric realities.
  18. The Last Shift
    As much as Stanley wants to believe in binaries – good honest work versus cheating, respect versus irresponsibility – Cohn’s low-key narrative undercuts such disingenuous naivety. Combine that with Jenkins’s slow-burn performance, and you have a film that speaks to, rather than talks down to, its audience.
  19. Altered States
    Altered States can be accused of many things, but never of harboring a new idea. Because the script's lessons have been drowned in fruity religious imagery, Altered States is at most an accomplished horror film, the kind of stomach-churning movie to which people like David Cronenberg aspire. [23 Jan 1981]
    • The Globe and Mail (Toronto)
  20. Pirate Radio
    Richard Curtis, the writer of "Four Weddings and a Funeral," "Notting Hill" and "Love, Actually," goes off-shore and out of his depth with Pirate Radio .
  21. The Reader
    So why, despite everyone's best efforts, does all this bigness seem so small and unfocused and simply not up to the task?
  22. Freaky Tales
    Freaky Tales has neither the patience nor the depth to imagine any one person or story with a legitimate hook.
  23. Life Is Beautiful
    Ultimately, Benigni's comic refinery merely transforms the banality of evil into a lesser sin -- the evil of banality.
  24. Child's Play
    The premise of Child's Play, in which the murderer is a much-merchandised doll patterned after cartoon characters known as Good Guys, is long overdue. Unfortunately, the package in which the present arrives is often too little, sometimes too much, and always too late. [11 Nov 1988]
    • The Globe and Mail (Toronto)
  25. The Firm
    By then, the lofty ambitions can't disguise the sad reality - it's long, it's cluttered, and it's trite.
  26. Stoker
    Park is busy treating every frame like a runway model, dressing it up in self-conscious layers of cinematic haute couture. It’s gorgeous to gaze upon but otherwise dessicated – listless, juiceless and ultimately pointless. For all his exemplary camera work, there’s no motion, or emotion, in the picture.
  27. The King
    Along with its allegorical elements, The King is also impressively specific in naturalistic detail.
  28. Trouble with the Curve
    Clint has a script. Actually, Clint has too much script, one of those schematic by-the-number jobs that telegraphs its every pitch.
  29. Hard Candy
    Hard Candy not only trips along a tightrope line between exploitation and art; in some ways, that line is its subject.
  30. Defiance
    What is puzzling is how Edward Zwick has taken an extraordinary real-life story about a handful of people who defied huge odds, and turned it into an utterly conventional war movie.
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