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. Star Wars: Episode IX - The Rise of Skywalker
    So much of Star Wars: The Rise of Skywalker is pulled from what has come before, and so much of it carries the wear and tear of repetition.
    • 41 Metascore
    • 50 Critic Score
    The Secret Agent
    On screen, the result feels stagey and cramped, as though the film had been "adjusted for your TV set" before going to video. [13 Dec 1996]
    • The Globe and Mail (Toronto)
  3. Sweet Home Alabama
    Light to the point of disposability, Sweet Home Alabama is a small screwball comic idea that spins out far too long.
  4. Red Sparrow
    In the role, Lawrence dominates. Red Sparrow is stylish and tense enough, but the writing is run-of-the-mill and the film lacks the soul of something like the Nikita movies. The watchability comes from Lawrence.
    • tbd Metascore
    • 50 Critic Score
    Great Great Great
    Beirne and Kolasky's performances hit many high notes.
  6. The Mosquito Coast
    The Mosquito Coast is a work of consummate craftsmanship and it's spectacularly acted, down to the smallest roles (Martha Plimpton as a classically obstreperous preacher's daughter, for example), but its field of vision is as narrow and eventually as claustrophobic as Allie's. [28 Nov 1986]
    • The Globe and Mail (Toronto)
  7. Paradise Alley
    The problem with Paradise Alley is that it has been made by the character Stallone was playing in Rocky: it has the cinematic mind of a 14-year-old in the glossy body of a major movie. [14 Nov 1978]
    • The Globe and Mail (Toronto)
  8. A Monster Calls
    Dealing with such heavy matters as death, faith and forgiveness, the film wants to be a classic-in-the-making, but it just doesn’t hit the emotional and narrative cues necessary for such a weighty job.
  9. Fred Claus
    As for Vaughn, he seems exhausted by his strenuous efforts to bring a few sparks of spontaneity to such an overcalculated Christmas product.
  10. Dreamin' Wild
    That feelgood story of a long dormant musical dream finally realized was enough to earn major press attention, but is it enough for a feature-length film? Probably not, which is why writer-director Pohlad piled on the melodrama and leaned into clichés.
  11. Going in Style
    Having no emotional stakes leaves me cold, and leaves three cheeky actors with nothing to play. These characters are staring down death. They should be raging against the dying of the light, not going gently into their early-bird supper.
  12. The Hangover
    Rude, lewd and occasionally in the nude, The Hangover brings a collection of fresh faces to the familiar raucous male-bonding comedy.
  13. Breakin' All the Rules
    A story only slightly more complex than your average episode of "Friends."
  14. Cyrus
    The emotional geometry is familiar enough to be credible yet odd enough to be creepy.
  15. All My Puny Sorrows
    An icy Sarah Gadon can’t plumb it, offering a quietly mannered performance where a beautifully furrowed brow and occasional tear suggest the character cares more about looking elegant than dying. Thankfully, in the warmer roles of Yoli and her resilient Mennonite mother, Alison Pill and Mare Winningham do find the big broken heart at the core of this story.
  16. Ransom
    Since "To pay or not to pay" is banal, the plot takes the popular path of excess to a brain-boggling twist (to be specific would be to ruin what fun there is), then spirals off in a series of ever more unlikely gyrations, until a heretofore decent picture has gone completely south into fantasy-land.
    • 34 Metascore
    • 50 Critic Score
    The Time of Their Lives
    Director Roger Goldby tinkers with important issues around aging, only to steamroll it all with a slipshod script.
  18. Tiger
    Any sports film, no matter its scale or handicap, has to land its narrative and aesthetic punches – and Tiger clings to the ropes more often than not.
    • 51 Metascore
    • 50 Critic Score
    Father of the Bride
    Alas, the perfect Steve Martin vehicle will probably never be the perfect film, no matter how endearing the silver-haired actor makes himself. And so it is with Father of the Bride; good, but by no means great. [20 Dec 1991, p.C3]
    • The Globe and Mail (Toronto)
  20. Laggies
    The movie’s compromised tone, wavering between emo introspection and rom-com cuteness, is awkward in all the wrong ways.
  21. The Distinguished Gentleman
    The Distinguished Gentleman isn't - distinguished, that is - but it's a notable cut above Eddie Murphy's recent ventures. [04 Dec 1992]
    • The Globe and Mail (Toronto)
  22. Outland
    Even without a chronological point of reference, Outland has an intriguingly realistic look. Unfortunately, both the realism and the intrigue begin and end with the sets. [25 May 1981]
    • The Globe and Mail (Toronto)
  23. Street Kings
    A bad-cop, worse-cop movie.
  24. The Spirit
    What a shame that The Spirit isn't nearly as good as it looks.
  25. My Mother Likes Women
    Wants keenly to be hip and modern, but really it's just an old-fashioned drawing-room comedy.
  26. Lost Highway
    David Lynch's eye-popping imagery is buried under an avalanche of self-indulgence.
    • 54 Metascore
    • 50 Critic Score
    Big Wednesday
    Big Wednesday is American writer-director John Milius' attempt to use surfing as a metaphor for life. It doesn't work. [27 June 1978]
    • The Globe and Mail (Toronto)
  28. A Good Woman
    With the two American actresses miscast, and the two young British lads behaving like a couple of "Brideshead Revisited" rejects, most of the dramatic heavy lifting is left to veteran English actor Wilkinson.
  29. It Runs in the Family
    As an actor, Kirk Douglas still has more to give; too bad he didn't have more to work with.
  30. Alex & Emma
    The contrived script is stretched to the breaking point by Reiner's listless direction.
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