The Globe and Mail (Toronto)'s Scores

Select another publication »
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
view
per page
  1. Valkyrie
    The result is a fairly co-ordinated effort that, despite a few miscues, yields a consistently watchable film.
    • 56 Metascore
    • 75 Critic Score
    Don't Be Afraid of the Dark
    This is still a seriously entertaining horror movie, one that will please newcomers as well as fans of the original oddity. But by the end of the film, I was wishing the filmmakers had left us wondering about precisely who and what these critters were just a little bit longer.
  3. Drive-Away Dolls
    A lascivious comedy that might have been produced by The Big Lebowski’s fictional pornographer Jackie Treehorn were he given far too much money, Drive-Away Dolls proves that there is a yawning gap between “a Coen Brothers film” and a “film by a Coen brother.”
  4. Date Night
    All that starring talent isn’t exactly wasted here; it’s just diluted, watered down enough to demote “really funny” to sort of funny, now and then, here and there, some of the time. Hey, it’s the movie biz.
  5. Driving Lessons
    For all its treacly excesses of the post- "Full Monty" era, British comedy hasn't entirely lost its teeth yet.
    • 56 Metascore
    • 88 Critic Score
    The DUFF
    The film belongs to Whitman, who, fresh off a five-year stint on the now-defunct TV series "Parenthood," infuses her first big-screen leading role with a unique charm. If Whitman looks familiar, but you can’t quite place her, that’s about right.
  7. French Exit
    Simply put, I didn’t care for a single person or situation on-screen, and Jacobs’s curiously unconfident and drab direction, which is in desperate need of tighter editing, only hastened my growing annoyance.
  8. Sylvia
    Sylvia the movie competently shows us how; but, as always, it's Sylvia the writer who brilliantly tells us why -- then, now and tomorrow, her foreboding words are her finest legacy.
    • 56 Metascore
    • 50 Critic Score
    Afflicted
    The gradual ramping up of both the camera calisthenics and the gore quotient suggests a movie that’s been very deliberately paced, but that doesn’t mean that Afflicted really gets anywhere, except back to the very basics its state-of-the-art presentation is supposed to transcend.
  10. To Life
    À la vie is a gentle toast – the film sticks to its subtle tone, which is both its strength and its weakness.
  11. The Arrival
    A little less fascination with computer tricks, and a little more application of human intelligence could have done The Arrival a world of good. [31 May 1996]
    • The Globe and Mail (Toronto)
  12. The Man from U.N.C.L.E.
    The spectacular Italian locations, jazzy score and vehicular action finally go somewhere in the third act, when Ritchie riffs a few stylistic conventions of the era. Mesmerizing and clever, but more style than substance.
  13. The Brave One
    The film moves from cliché to cliché and hemorrhages blood and logic at an alarming rate.
  14. Wolf Creek
    While it's not exactly the kind of movie many will feel like catching during a holiday break, fans of the horror genre will appreciate the fresh take on a killer's hunt for fresh meat.
  15. Miss Julie
    The film is visually bland, with only a couple of bookending outdoor sequences around a handful of interior sets.
  16. Minions
    With its episodic stream of slapstick gags, Minions has moment of piquant absurdity, but mostly it’s shrill-but-cutesy anarchy works as a visual sugar rush for the preschool set.
  17. Wall Street
    Despite some casting problems, director paints a convincing portrait of a frenzied world. [11 Dec 1987, p.D1]
    • The Globe and Mail (Toronto)
  18. Real Steel
    It's a combination that seems ideal for 10-year-old boys who adore violence, and could well be the cornerstone of the next DreamWorks franchise.
  19. For No Good Reason
    Unfortunately, For No Good Reason sidelines Steadman’s own bona fides, functioning primarily as a second-hand documentary of Thompson, stoking the hagiography of the late hipster icon.
  20. Unknown
    The art of the classic Hitchcockian thriller is about style, pace and misdirection – and though Unknown is occasionally baffling and involves running and car chases, the film rarely manages to thrill.
  21. The Rum Diary
    Essentially an affectionate and personal project to honour Thompson's memory, The Rum Diary occasionally strains to evoke the journalist's surreal black humour.
    • 56 Metascore
    • 75 Critic Score
    Ramona and Beezus
    Corbett (of Sex and the City fame) is oddly cast, but still a lovable, if dorky, dad, capable of saving the day.
  23. Filth
    Stylistically, Baird seems keen to position Filth as a spiritual sequel to "Trainspotting."
  24. Breaking and Entering
    Minghella is a smart guy with splendid intentions but, ultimately, he's a victim here of his own liberal contrivances.
  25. Bamboozled
    At his best, Spike Lee is too brave to be subtle.
  26. Tommy's Honour
    Although it’s a kick to see the rough conditions and the full-on roughhousing of old-world golf, the scenes on the links are repetitive. And while the ending takes a severe dogleg turn to soft-focus sentimentality and the soundtrack hounds us to take this thing seriously, the movie is easily resistible.
  27. Hereafter
    Hereafter is unpredictable enough to be consistently watchable.
  28. The Croods: A New Age
    It mostly all comes together in the end, but you still cannot help but watch the film and wonder why the need for just so much of everything.
  29. Death Becomes Her
    This wildly black comedy says that in Hollywood, death becomes everyone. [03 Aug 1992]
    • The Globe and Mail (Toronto)
  30. CQ
    CQ has a modicum of IQ and a dash of style -- the jury's still out on the extent of the inheritance, but the kid clearly learned something at his pater'sknee.
Page:

Top Trailers

See all »
See all trailers »