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. Paul
    Some of the later scenes capture the spirit of majestic sweetness of "Close Encouners of the Third Kind" and "E.T: The Extra-Terrestrial" period, but the elevated moments don't last. They're relentlessly undermined by the f-bombs, groin kicks, and anal-probing jokes.
  2. The Ring
    It's a workmanlike, passably engrossing horror flick that copies well from the Japanese original. When it's good, it's not original, and when it's original, it's not so good.
  3. My Wife Is an Actress
    None of this quite gets off the ground, and I found myself wanting to bid farewell to Yvan and Charlotte quite a while before the final credits rolled. Not every wannabe Woody Allen is Woody Allen.
  4. Bart Got a Room
    Here's something you don't see every day: a high-school comedy for old poops.
  5. The Laundromat
    In 96 minutes, Soderbergh presents a series of vignettes underlining humanity’s subservience to greed. Some of the segments work – especially one involving an African business titan who decides to teach his daughter an expensive family lesson – and some are too thin (maybe there is a downside to that brisk 96-minute runtime after all).
  6. The Zookeeper's Wife
    As her oddly unengaged zoologist husband, the Belgian actor Johan Heldenbergh appears to be working in a different movie altogether.
  7. Ezra
    Starring De Niro and Bobby Cannavale as two generations of “whaddya talking about!?” Noo Yawkers and directed by sometimes actor Tony Goldwyn, so much of Ezra feels like a “favour” film – a good excuse for a well-liked director to persuade friends to hang out with each other for a few weeks of shooting, without delivering something worthy of their collected talents.
    • 57 Metascore
    • 70 Critic Score
    Spinal Tap II: The End Continues
    There’s a kind of procedural nostalgia at work here. It’s not as newborn ridiculous, and certainly not as innovative, but the film knows the game it’s playing – or, in Tap’s case, the music it has to keep hammering out. It doesn’t hit eleven, but it doesn’t have to.
    • 57 Metascore
    • 63 Critic Score
    Born in China
    On the whole, it’s fine for what it is, and outside of baby panda cubs remaining some of the cutest things on the planet, the real attraction here is a glimpse at the reclusive snow leopard in its natural habitat.
  10. The Woman in the Fifth
    The Woman in the Fifth is an interesting chameleon until it runs out of disguises, and all that was transitory just looks transparent.
  11. Field of Dreams
    Despite a few wrong turns early on, the movie gathers graceful momentum and heads straight to the warm heart of the book - that fond spot located just on the safe side of sentimentality, a feel- good place that doesn't leave any feel-stupid fallout.
  12. Ragtime
    Ragtime itself twinkles with delight - perhaps only an immigrant, and a recent one, could have made this film, which looks squarely at the social problems gnawing at North America but which finds, within them and without them, cause for hope. [20 Nov 1981]
    • The Globe and Mail (Toronto)
  13. Dicks: The Musical
    Demanding a full audience of sickos to unlock the film’s true communal madness, Dicks: The Musical is destined for midnight-movie deification. Worship its transgressive power, or denounce it as unholy. The film thankfully offers no in-between.
    • 57 Metascore
    • 63 Critic Score
    Flicka
    Yet -- and this must be said in all fairness -- as things progress, the magic of the story asserts itself over the audience.
  15. Bram Stoker's Dracula
    Francis Ford Coppola's adaptation of Bram Stoker's novel Dracula, is decadent, overpoweringly erotic campiness coupled with soft-core pornography - blood, breasts, buttocks and big teeth. It's daring and those with a taste for the sexily sanguine will find it delightful. But it's not for the prudish. [13 Nov 1992, p.C1]
    • The Globe and Mail (Toronto)
  16. Spy Kids 3-D: Game Over
    Spy Kids 3-D: Game Over, is still offbeat, but more in the sense of unco-ordinated than syncopated.
  17. The Intouchables
    The Intouchables works as a crowd-pleaser not because it's true, but because it's a plausible enchantment.
  18. Thor
    Alas, the news is mixed: Thor ain't much of a movie but it's a great career move. Both movie and move belong to director Kenneth Branagh.
    • 57 Metascore
    • 75 Critic Score
    Permanent Midnight
    Permanent Midnight is a slick, entertaining, show-biz saga whose worst fault may be that it has a happy ending. Stahl has not only recovered from debauchery, he's making a ton of cash with his book and the movie. In fact, this may be as quintessential a morality tale for the nineties as the Monica Lewinsky story. [25 Sep 1998, p.D9]
    • The Globe and Mail (Toronto)
    • 57 Metascore
    • 63 Critic Score
    Trick or Treat
    The treat in Trick or Treat is that the film has a sense of humor about itself, and a genuine feeling for the travails that follow puberty. [29 Oct 1986, p.D10]
    • The Globe and Mail (Toronto)
  21. Body of Lies
    The sickly feeling that Body of Lies leaves at its conclusion isn't just about the brutality of its subject; it's the realization that real-life barbarism translates so easily into adrenaline kicks for the multiplex.
  22. Antlers
    Russell, Plemons and especially the young Thomas excel at highlighting the emotional and spiritual fissures that can result from living in an easy-to-ignore, easier-to-disdain community. But there is a ultimately a hollow sickness to Antlers – a film intended to provoke gasps and gags, but at the same time so superficially produced that it chokes on its own ambitions.
  23. The Notebook
    The challenge for a filmmaker attempting to adapt the Agota Kristof novella The Notebook is how much of its startlingly amoral world can actually be shown.
  24. Road House
    Liman makes the most of what most would assume are flaws. He leans into the simplicity and familiarity of Road House’s premise, keeping the space open for big personalities to make it cartoonishly good fun.
  25. The Grand Seduction
    As sweet as the film can be (a burgeoning romance between Kitsch’s doctor and Liane Balaban’s hard-to-get local borders on the adorable), The Grand Seduction is also deeply cynical.
  26. Space Jam
    In the rap-music, slam-dunk, hysterical tumult of visual clutter that makes up most of Space Jam, the traditional Warner Bros. 'toons get scant attention. In this marriage of corporate logos, the manic little characters serve simply as more names to be dropped. What Space Jam really lacks is respect for an irreverent tradition. [15 Nov 1996, p.C4]
    • The Globe and Mail (Toronto)
  27. Adult Beginners
    A thoughtful, unsurprising dramatic comedy executive produced by Jay and Mark Duplass. If you know the indie filmmaking siblings from their HBO show Togetherness, you will be comfortable with the wry, understated Adult Beginners.
  28. Scent of a Woman
    Instead, you get a nominal character study that boasts a single mighty performance and one nifty scene; alas, both performance and scene exist in a narrative vacuum - the plot is non-existent and the pace makes the ice age seem hasty.
  29. Run This Town
    Yeah, it’s not good. Writer/director Ricky Tollman has turned the true story of Rob Ford’s crack video into a fake cris du coeur for millennials.
  30. Happy Endings
    A tart-coated sugar pill of a movie.
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