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 Good Liar
    A con-artist movie that is something of a con itself.
  2. The Last Samurai
    Grandly overblown and deeply cornball.
  3. Baby Mama
    A painfully predictable movie.
  4. Hostel
    The thing is just a clunky and tasteless and dumb scare picture, isn't it? Clunky, yes. Tasteless, for sure. But not so dumb I fear.
  5. Song to Song
    Where Song to Song most distinguishes itself among Malick’s uniquely rich filmography is its abiding despair. It is his most pessimistic film since "Badlands."
  6. The New Romantic
    As sincere and entertaining as it is, The New Romantic makes the classic university mistake of trying to ace the exam by cramming the night before.
  7. The Eyes of Tammy Faye
    The director, Michael Showalter (The Big Sick), and the screenwriters Abe Sylvia, along with Fenton Bailey and Randy Barbato who made the 2000 documentary of the same name, either can’t or don’t want to confine themselves to a consistent tone.
  8. Bardo, False Chronicle of a Handful of Truths
    Even when the maximalist visuals grab hold – as in, by your collar with an unpleasant yank – it is hard to feel much but exhaustion.
    • 55 Metascore
    • 50 Critic Score
    Pride
    One wishes the makers of Pride had stuck with non-fiction, because their movie reduces Ellis's story to the level of generic sports-flick hokum.
  10. National Lampoon's Vacation
    The film is primarily an excuse for Chase to demonstrate that though he may be a movie star he has yet to learn how to create, let alone sustain, a character, and for director Harold (Caddyshack) Ramis and screenwriter John (National Lampoon's Class Reunion) Hughes to demonstrate that some movie stars get the colleagues they deserve. [2 Aug 1983]
    • The Globe and Mail (Toronto)
  11. Outrageous Fortune
    Outrageous Fortune is a genuine waste of talent (Midler, Long and Coyote all have it) and time (the standard 90 minutes' worth). [30 Jan 1987]
    • The Globe and Mail (Toronto)
  12. Tammy's Always Dying
    A uniquely Canadian exercise in down-and-out misery, Amy Jo Johnson’s second directorial effort, Tammy’s Always Dying, delivers a wealth of interesting talent to the table, and leaves them to fight for scraps.
  13. Nijinsky: The Diaries of Vaslav Nijinsky
    You don't need to have seen a lot of art films to love The Diaries of Vaslav Nijinsky. All it takes is compassionate curiosity and perhaps some lingering memory of the world as a child experiences it.
  14. Dodgeball: A True Underdog Story
    Much of Dodgeball feels competent but lazy. The nerds are barely distinguishable, except for one who thinks he's a pirate and says arghh a lot to no humorous effect.
  15. The Adam Project
    It is fast-food fantasy, artificially flavoured and quickly devoured.
  16. They Live
    From its eccentric score (a mix of spaghetti western and funky blues) to its bizarre casting (ex-wrestlemanaic Roddy Piper in the lead role), the flick leaves us off-balance and guessing. By the time we figure out there's not much to guess at, the credits roll by and the jig is up. [5 Nov 1988]
    • The Globe and Mail (Toronto)
  17. Idlewild
    Artistic originality is not so common a commodity that you can afford to get too fussy about the details.
  18. Snakehead
    Leong’s documentary realism is powerful – if tough on an audience – but his fiction skills are erratic in a film that relies too heavily on Sister Tse’s narration, much repeated flashbacks and heavy exposition of the characters’ motivations.
  19. Surviving Picasso
    Surviving Picasso is flat-out dull, hanging like a K Mart print in a suburban mall - a testament to Merchant-Ivory's blew-it period. [20 Sep 1996]
    • The Globe and Mail (Toronto)
    • 55 Metascore
    • 75 Critic Score
    The 33
    As millions watching the eventual rescue understood, the strength of those miners and the unlikely hope of their families, was utterly captivating. Their survival moved me deeply then and, with The 33, it still does now.
  21. The Great Gatsby
    It’s a terrific adaptation that succeeds not only as a work of cinema but also, wonderfully, as proof of the novel’s greatness. In short, the picture rebukes the revisionists even while entertaining them.
  22. The Package
    The ads give this a Lamborghini label, but under the hood, it's just a clunker that putzes along like a suburban sedan. [26 Aug 1989]
    • The Globe and Mail (Toronto)
  23. City of Tiny Lights
    A classic private-eye tale updated for a multicultural London, director Pete Travis’s noir is entirely watchable, but it’s only because of to Ahmed’s captivating presence.
  24. The Bride!
    It flails wildly from minute to minute, bursting with ideas and themes it barely has time to articulate, but the sheer unpredictability of its narrative and aesthetic gesticulations guarantee that your attention never threatens to drift, and that your nerves remain constantly on edge.
  25. Old School
    Speaking of funny things, director Todd Phillips has been down this path before in "Road Trip." There, toiling in the same lame genre, he actually showed a hint of comic ingenuity. Here, the hint has dwindled to a hoarse whisper.
  26. City of Angels
    A lovely oddity.
  27. The Men Who Stare at Goats
    These Stooges-like antics are more about showing what good sports his stars are than honing any real satiric edge.
  28. Higher Learning
    Like an over-ambitious freshman with a term paper, Singleton raises every issue and illuminates none. And, again, this film is better when the combative heat rises, particularly when the long-telegraphed confrontation between Malik and the neo-Nazi finally comes to a (skin)head. [13 Jan 1995, p.C3]
    • The Globe and Mail (Toronto)
    • 54 Metascore
    • 38 Critic Score
    Passion
    Where Corneau flirted with erotic tension, De Palma flaunts it. Where Corneau went for nightmarish reality, De Palma does noirish dreams.
  30. Magic in the Moonlight
    One distraction is that everything feels smothered in an extra helping of déjà vu sauce: another movie featuring a middle-aged misanthrope with a dewy younger woman; another film with stage magic as a theme.
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