The Globe and Mail (Toronto)'s Scores

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For 7,302 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: 4,357 out of 7302
  2. Mixed: 1,829 out of 7302
  3. Negative: 1,116 out of 7302
7302 movie reviews
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  1. Now You See Me: Now You Don't
    While the original Now You See Me had a winking audacity that leaned into the absurdity of its bag of tricks, the newest installment feels rote and lacks the thrill of genuine surprise.
  2. The Marvels
    The Marvels is just that kind of production, a white board of sticky notes that magically coalesces, slowly and grudgingly, into a feature-length motion picture that merely acts as a long advertisement for the next.
  3. No Strings Attached
    Not half bad for a formulaic rom-com.
  4. Young Guns
    The movie blows through the Brat Pack smoke screen - it is superior to Colors in that regard - to reveal the troubled, lonely and sometimes crazy males behind the macho, misogynist posturing of men in groups. You couldn't find a nicer bunch of killers. [12 Aug 1988, p.C3]
    • The Globe and Mail (Toronto)
    • 50 Metascore
    • 50 Critic Score
    Closed Circuit
    Sadly, the movie’s lack of a clear identity – is it a thriller, soap, legal drama or action chase movie? – makes it difficult to understand why anyone should care.
  6. For Colored Girls
    The film is a mawkish mess, only occasionally alleviated by the performances or Shange's poetry.
  7. Honkytonk Man
    It's a pleasant, unprepossessing picture of gliding charm and buoyant silliness, a fragile craft unencumbered by the weighty sophistication of camp, and it's one of the nicest surprises of the season. [17 Dec 1982]
    • The Globe and Mail (Toronto)
  8. Now and Then
    Growing-up films are bad enough without a shameless all-girl rip off of Stand By Me. [20 Oct 1995]
    • The Globe and Mail (Toronto)
  9. Hit and Run
    It's a rom-com, it's a road movie, it's "Cars" without the animation, it's "A History of Violence" played for yuks. It's all that and less because, really, Hit & Run is awfully hit & miss.
  10. Bel Canto
    Watanabe and Moore acquit themselves well (although the latter’s lip-syncing is questionable), but Bel Canto falls short of the operatic notes Weitz attempts to hit.
  11. Eat Pray Love
    Running more than two hours – a very long time for an adaptation of a book without a plot – Eat Pray Love is like an overstuffed lightweight suitcase, with little room for us to feel the emotional connections Liz makes with new friends along the way.
  12. The Rules of Attraction
    Some movies just bring out your inner Matlock: a desire to grab young punks by the lapels, smack them against a wall, knock their cigarettes to the ground and wipe the sneers off their faces. Such is the case with the callow and cynical The Rules of Attraction.
  13. Edge of Winter
    Kinnaman, a Swede, is good in small doses – say, as Mireille Enos’s sidekick in the TV series The Killing – but he’s no leading man. He gives us zero insight into Elliot, so he never makes us care about him. This film will be remembered (if at all) as one of the things Holland did before he was Spider-Man.
  14. Constantine
    Every time you think you grasp the concept, another layer of outlandish supernatural gobbledygook is laid on top, leaving the viewer feeling as spun-out as Linda Blair's head.
  15. Jurassic World Rebirth
    So many of Rebirth’s images and set pieces are lifeless, and no amount of on-location filming in Thailand – versus the soundstage green screenery so favoured by most of Jurassic’s blockbuster contemporaries – can hide the fact that very little in the screenplay makes logistical, narrative or emotional sense.
  16. The Hunt
    The most shocking part of this too-shocking-for-audiences-today production is that Cuse and Lindelof are even involved, given the far smarter and sharper work they did last year on HBO’s "Watchmen," which took the carcass of U.S. politics and thoroughly eviscerated it in a new and startling fashion.
  17. Little White Lies
    In what's meant to be a French take on "The Big Chill" - comedy meets pathos as friends gather at a country house in the wake of a tragedy - writer-director Guillaume Canet has wrought a meandering script that exercises everything except restraint.
  18. No Reservations
    A passable romantic dish, a good-looking, old-fashioned date movie set in an idealized Greenwich Village, evocative of the better Woody Allen films.
    • 50 Metascore
    • 88 Critic Score
    Short Circuit
    Guttenberg has yet to make a comedy that isn't all the more pleasant for his presence. Sheedy, meanwhile, is wholesomeness personified - almost a new Sally Field embodying the positive aspects of American willpower, energy and openness. She has talent. She has freckles. She is a star. Even robots fall for her. Badham wired this one up pretty good. [09 May 1986, p.D1]
    • The Globe and Mail (Toronto)
  20. Labyrinth
    David Bowie, flaunting a Marianne Faithfull hairdo, stars in Jim Henson's latest puppety film, the flagrantly unoriginal Labyrinth. [1 Jul 1986, p.A1]
    • The Globe and Mail (Toronto)
  21. Swamp Thing
    Deserves - to be "watched" with steam on the windshield and passion in the air. When the monster in a monster flick packs all the fearsome wallop of an overripe avocado, one needs some diversion.[8 June 1982]
    • The Globe and Mail (Toronto)
  22. The Equalizer 2
    I’m not sure audiences are getting what they deserve with this plodding, so-so action-thriller, but they’ll get what they’ll pay for: Washington as a relentless old-man on a moral-code mission of setting things right (and sometimes setting things on fire).
    • 50 Metascore
    • 25 Critic Score
    Life After Beth
    It is certainly possible that Baena is going for a deeper meaning, but even that feels like a case of indecisiveness.
  24. Introducing the Dwights
    The script's attempt to splice together a fumbling love story with a portrait of toxic personality disorder feels incongruous, like a serving of porridge flambé au whisky.
  25. Ice Age: Dawn of the Dinosaurs
    Every character is like the hyperactive rat-squirrel Scrat, and the audience is bounced around like his elusive acorn.
  26. Snow White
    This new Snow White is neither a chore à la 2023′s The Little Mermaid nor an abomination on the scale of Robert Zemeckis’s ghoulish Pinocchio redo. Whistle hard enough, and it almost sort of works.
    • 50 Metascore
    • 63 Critic Score
    Tombstone
    A little bit like a barroom brawl: noisy, senseless, silly but somehow watchable.
    • The Globe and Mail (Toronto)
  28. Fat Man and Little Boy
    Honorable, instructive, courageous: Fat Man and Little Boy, the true story of the creation of the atomic bomb in Los Alamos, N.M., is admirable in every respect save one - it's a lousy movie. [20 Oct 1989]
    • The Globe and Mail (Toronto)
  29. Lolo
    Clumsy and erratic, Lolo is a slapdash comedy of errors that slips on its own banana peel but gets few laughs.
  30. Eurovision Song Contest: The Story of Fire Saga
    Listen, Will: The film, your first with streaming giant Netflix (which maybe says something about the state of your brand of big-screen comedies, or maybe not), isn’t a total disaster. There are moments where you and Dobkin embrace the surreal . . . that hint at a better, more interesting kind of absurdist comedy.
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