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. The Addams Family
    The humour is based entirely on inversion which worked in your cartoons, and even on the TV show, but it's not enough to hold up a movie, even with the helping hand provided by a disembodied hand. [22 Nov 1991]
    • The Globe and Mail (Toronto)
  2. First Knight
    The Arthurian legend has received a wide variety of treatments over the years, but this safe, sanitized American version drains the juice smack out of a notorious romantic triangle. [07 Jul 1995]
    • The Globe and Mail (Toronto)
  3. Snow White and the Huntsman
    Yes, there are many splendid reasons to see Snow White and the Huntsman – enough, maybe, not to care that neither Snow White nor the Huntsman rank high among them.
  4. Greetings from Tim Buckley
    Director Dan Algrant’s conceit here is to take an actual event – a tribute concert for Tim held at a Brooklyn church in 1991, the concert that sparked Jeff’s own career – and wrap a fictionalized drama around it.
    • 57 Metascore
    • 88 Critic Score
    Black Sunday
    John Frankenheimer does an excellent job of maintaining tension in an implausible situation in Black Sunday. Good performance by Bruce Dern as the loony. [31 Dec 1977]
    • The Globe and Mail (Toronto)
  6. Finch
    Sapochnik (Game of Thrones) wisely puts Hanks at the centre of nearly every scene, letting the actor’s ceaseless charisma carry audiences through the End Times. We attach ourselves to Finch partly because of the character, but also because we’re rooting for Hanks to escape the island, oops, I mean the apocalypse.
  7. Coach Carter
    When [Jackcson]'s not on camera, Coach Carter feels like the two-hour opus it is — too long, too banal, a bit ridiculous. But when he is, nothing else seems to matter, and how sublime is that.
  8. Lorne
    For all the behind-the-scenes footage and ostensible opportunities to grill Michaels about everything and anything, Neville’s film walks away with the impression and insight that anyone paying even half-attention to network television over the past few decades already knows.
    • 57 Metascore
    • 75 Critic Score
    High School Musical 3: Senior Year
    Disney raised the stakes by turning its hit TV-movie franchise into a feature film – and the bet has paid off.
  10. The Dinner
    Besides psychological drama, besides thriller, social satire is another significant element in this sometimes erratic film and it’s one that, surprisingly and belatedly, rises to the top: Anyone who started out thinking The Dinner was a thriller will probably be disappointed when the evening wraps up with an ending that is more farce than denouement.
  11. Confetti
    With barely a laugh to be found, Confetti takes the "mock" right out of the mockumentary, and you can guess what's left. Yep, a Umentary, a brand new genre best defined by what it's not -- not real like a doc, not funny like a mock, not this thing or that thing or much of anything.
  12. A Walk Among the Tombstones
    Although overplotted and underexplained, the movie is rich in memorable lairs.
  13. Morning Glory
    Yes, it's "The Devil Wears Prada," redux.
  14. American Pop
    The daring ceases to be exploratory and turns, spitting and screaming, on itself. When Bakshi shows us an animated replay of the infamous 1968 pistol execution of a suspected Viet Cong sympathizer, he imparts to the event the grinning slapstick of a Roadrunner and Wile E. Coyote confrontation. It's as good a place to walk out of American Pop as any. [6 March 1981]
    • The Globe and Mail (Toronto)
  15. The Last Kiss
    Actor-turned-director Tony Goldwyn elicits solid performances from the cast, then undercuts them by resorting to a trite montage or a clunky set-piece, inevitably scored with an obtrusive rock tune telling us what to feel and when to feel it.
  16. Alila
    Almost a comedy, though not an entirely successful one: It's too acerbic to be funny and too detached to be really moving.
  17. Wind
    Wind is a rapturous experience. It's a sporting movie about the spirit of sport that never steps over the line into a win-at-all-costs ethos, or into the hypocrisy of it's-the-way-you-play-the-game-that-counts. [14 Sep 1992]
    • The Globe and Mail (Toronto)
  18. Wrath of Man
    Ritchie pulls together an impressively determined thriller that sticks. Ideal for both a certain generation of viewer who gets excited when hearing the line, “We’ve got eight weeks of recon” and for those who will watch absolutely anything starring Statham (hi!), Wrath of Man is the best, bloodiest surprise of the year so far.
  19. The Ritual
    While thoughtfully done, the entertainment value of this sombre scare fiesta isn’t high. It’s about life’s paths taken and the rituals (and fears) we submit to.
  20. Last Chance Harvey
    Distinctly middling, London-set romance.
  21. Horrible Bosses
    What's right about Horrible Bosses is less easy to identify, but it comes down to something like esprit de corps. The three principal actors click. The looseness of the structure actually proves a benefit, allowing Bateman, Sudeikis and Day, all trained on television comedy, to bounce off each other, talk over each other and apparently pull lines out of the air.
    • 57 Metascore
    • 50 Critic Score
    Mama
    The film's long middle section is basically "Paranormal Activity" sans that series' handicam aesthetic, as things go bump in the night and the grown-ups take forever to get their act together.
  23. The Company You Keep
    In The Company You Keep, old radicals never die – they just turn into old actors.
  24. Everything's Gone Green
    Everything's Gone Green is the second feature directed by Paul Fox (The Dark Hours), who maintains an energetic, lighthearted tone throughout the film, even when the story loses focus at its not-quite-satisfying ending.
  25. Forks Over Knives
    A middling documentary but a magnificent indictment.
  26. Cujo
    Is it possible for a horror movie to be too good? If it is, then Cujo is it: this is one of the few films on record where the combination of low shock and high style results in an experience that borders on the unbearably intense. The movie is spectacularly well-made, but it's nearly unwatchable. [29 Aug 1983]
    • The Globe and Mail (Toronto)
  27. Dark Blue
    After a decade of silence, surely Hollywood can do better.
  28. Burden
    Typically, Whitaker can lend the sloppiest assignment some much-needed dignity, but here he gives far more than the easy and lazy script ever demands, so much so that you begin to feel sorry that he took the time and energy to do so.
  29. Flash of Genius
    The problem with Flash of Genius is that a windshield wiper is an awfully thin mechanism on which to hang a feature movie.
  30. It's Complicated
    This is wish-fulfilment fantasy, where the laughs lie in sorting out an embarrassment of riches.
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