The Globe and Mail (Toronto)'s Scores

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For 7,296 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: 4,353 out of 7296
  2. Mixed: 1,827 out of 7296
  3. Negative: 1,116 out of 7296
7296 movie reviews
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  1. Julieta
    It is a busy narrative machine that raises expectations of a tidy ending; instead Almodóvar offers an artfully mysterious conclusion that seems unearned by the movie that preceded it – except, of course, for that lonely stag.
  2. Clue
    If you see Clue only once, and it's hard to imagine seeing it more than once, even for the five different minutes, the "A" is by far the best, featuring as it does (this does not give away the identity of the murderer) a splendidly funny shtick from Madeline Kahn. [13 Dec 1985, p.D5]
    • The Globe and Mail (Toronto)
  3. The Hobbit: The Battle of the Five Armies
    Five Armies only feels truly entertaining when it embraces the arch silliness of its material; like when 92-year-old actor Christopher Lee whirls about in combat with a handful of ghosts.
  4. Carnage
    Although the subject, school bullying, is as fresh as today's headlines, the treatment isn't. Despite the efforts of an impressive cast, the film starts out stale and then just gets tedious.
  5. Tropic Thunder
    Tropic Thunder is an assault in the guise of a comedy – watching it is like getting mugged by a clown.
  6. On the Road
    Director Walter Salles, who knows a thing or two about picaresque journeys – in "The MotorcycleDiaries," even in "Central Station" – does make an honest effort here.
  7. The Girl Who Kicked the Hornet's Nest
    Sorry, this one doesn't really work at all, but don't blame the workers.
  8. Once Were Brothers: Robbie Robertson and The Band
    The Robertson-authorized Once Were Brothers is an account of The Band’s rise and fall, as remembered by the titular guitarist, chief songwriter and excellent raconteur.
  9. Middle School: The Worst Years of My Life
    Ironically, Middle School’s message is about encouraging kids and grown-ups to think outside the box and yet, the filmmakers themselves do precisely the opposite.
  10. 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.
  11. The Pope of Greenwich Village
    With its close attention to the Little Italy milieu and its farcical treatment of a safecracking, the picture is designed to turn Martin Scorsese's scathing Mean Streets into a sitcom. It could be done, and done well, in the right hands, but those hands do not belong to the calloused paws of the pugilistically inclined director Stuart Rosenberg. [22 June 1984]
    • The Globe and Mail (Toronto)
  12. Eagle Eye
    With less expensive actors, it might just have been called Chase Movie, and played for laughs.
  13. Sunset Song
    It’s ripe to the point of bursting and, with a plot that tilts to melodrama, Davies flirts dangerously with cliché, creating an over-wrought period piece where every wheat field is bathed in golden sunlight and every childbirth is announced by chilling screams.
  14. The Grudge
    There are so many events here but no real story. Perhaps that is what's making the drowned kabuki ghost so irate: She's desperate to find a coherent script.
    • 56 Metascore
    • 50 Critic Score
    The Man Who Knew Infinity
    When one of the most enlightening moments of a film comes during the postscript (black holes!), you know there’s a problem – one that has nothing to do with math.
  16. Reign Over Me
    Reign Over Me drizzles down on us for two full hours, persistently determined to prove that, if it hangs around long enough, a coherent movie will turn up. No such luck.
  17. Never Look Away
    As Kurt finds his true art in the West, thanks to the help of a fictional version of Joseph Beuys, the film turns gripping, but it ultimately reduces art appreciation to the autobiographical.
  18. Cirque du Freak: The Vampire's Assistant
    More than anything, the film lacks a rapport with its audience.
  19. 200 Cigarettes
    But there's no sign of the writerly derring-do that is really essential to daisy-chain storytelling. 200 Cigarettes burns itself out well before midnight.
  20. Brubaker
    David Keith, a native of Tennessee, had a tiny role in The Rose (as Bette Midler's soldier friend) and he is one of the few in the Brubaker cast whose accent is authentic and who appears to have the wherewithal to survive in a penitentiary. His scenes are the only respite from the movie's shrill, simplistic self-congratulation. [21 June 1980]
    • The Globe and Mail (Toronto)
  21. 5 Days of War
    5 Days of War feels low-budget in everything except its battle sequences.
  22. Armageddon
    Trying to pick faults with a sound-and-spectacle juggernaut like Armageddon is like taking an ant gun to an elephant: All the movie's staggering conventional weaknesses -- ludicrous plot, weak characterization, incomprehensible staging and ambient racket -- are irrelevant.
  23. The Perks of Being a Wallflower
    As long as Chbosky sticks to the story of surviving high school, Perks has a modest charm. But a melodramatic last-act bombshell about Charlie's troubled past, is jarring – like the giant foot of Godzilla descending to squash tender Bambi. It's a case of too much, too late and, ultimately, from a different kind of movie.
  24. Margaret
    Kenneth Lonergan's new film, Margaret, finally released six years after it was shot, now seems destined to become part of film history as one of the more stunning examples of a filmmaker's sophomore slump.
  25. Pink Cadillac
    Not much flair to this vehicle. [26 May 1989]
    • The Globe and Mail (Toronto)
  26. Wall Street: Money Never Sleeps
    Saddled with this hollow script, Stone pads with elaborate set pieces.
  27. Fighting
    Fighting is a crude love letter to seventies' New York cinema but set in the present.
  28. Bridget Jones: The Edge of Reason
    Rather than being one of us, this stumpy-legged dingbat is a realization of our worst social fears. Before we were laughing with her, and now we're laughing at her.
  29. Blood Work
    At his best, Clint directed as he acted -- sparely, laconically, but concisely, with a clean precision. There are flashes of that trademark style early on, but it soon degenerates badly.
  30. The Girl on the Train
    Whatever the locomotive power of the novel, this film adaptation only limps into the station.
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