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. Inglourious Basterds
    Let's start with this certainty: No one but Quentin Tarantino could possibly have made Inglourious Basterds . Now add another: No one but his most ardent fans will be entirely glad that Quentin Tarantino did make Inglourious Basterds .
  2. Birth
    Despite its trappings, despite its style, Birth is just a tall tale with a short reach.
  3. My Way
    Adolescent boys will savour My Way's bombast and solemnity. Cringing adult audiences will more likely beat a retreat before final call.
  4. Tenacious D in The Pick of Destiny
    As it exists, Tenacious D in the Pick of Destiny is strictly for the tenaciously devoted.
  5. Tie Me Up! Tie Me Down!
    In terms of psychology, it's an abysmal failure, too real to be symbolic, too symbolic to be realistic. [25 May 1990]
    • The Globe and Mail (Toronto)
  6. Bumblebee
    Stripped of its parts, Bumblebee (as annoying to type as it is to say!) is just another needless franchise extension that should’ve been junked years ago.
  7. The Texas Chainsaw Massacre
    Gruesome enough; what it lacks is a distinctive revolting personality of its own.
  8. I Love You, Beth Cooper
    The movie feels like something parents want their kids to see. Harold and Kumar wouldn't want anything to do with Beth Cooper or Denis Cooverman. You're probably not going to like them much either.
  9. Stalingrad
    Overall, Stalingrad is a bizarre concoction, part Putin-era patriotic chest-thumping and part creaky war melodrama, all set in a superbly recreated ruined city.
  10. 21 Jump Street
    A try-anything, fitfully amusing muddle that wears its mocking cynicism a bit too proudly.
  11. To the Arctic
    After seven trips made over four years, the production was about to wrap when the crew, aboard an icebreaker, encountered a polar bear mom and twin cubs that decided to hang around for a week – offering a rare opportunity to film the daily life of these notoriously camera-shy creatures.
    • 69 Metascore
    • 50 Critic Score
    The Fault in Our Stars
    Fault is at heart a full-throttle, by-the-numbers tearjerker.
  13. Between Strangers
    Great cast, too bad about the movie.
    • 55 Metascore
    • 50 Critic Score
    For a Good Time, Call...
    Easily the daffiest movie you've ever seen that also references incestuous role-playing games.
  15. What's Love Got to Do with It
    With a lot more insight and a lot less hagiography, it could have been a real movie. [18 Jun 1993]
    • The Globe and Mail (Toronto)
  16. Another Stakeout
    Everyone is back for Another Stakeout but, without the laughs-and-thrills mix of the original, this sequel just doesn't work. [24 July 1993]
    • The Globe and Mail (Toronto)
  17. 27 Dresses
    Almost everything about this starring vehicle for Katharine Heigl feels borrowed from some previous romantic comedy.
  18. Level 16
    The look of the film is sterile and monochromatic, as is the acting and the mood. And while fans of the genre will absolutely appreciate the surreal gloom, for most others Level 16 will come in at a level below an average "Twilight Zone" episode.
  19. You Should Have Left
    You Should Have Left will, however, make you seriously rethink your next Airbnb rental. And maybe even push you to watch "Mortdecai," just to see what a real horror looks like.
    • 54 Metascore
    • 50 Critic Score
    The Skyjacker's Tale
    Even as he cuts confusingly between talking heads and time periods, Kastner elides key details that might have given viewers a more complex portrait of both the setting and his anti-hero’s role in the drama.
  21. Batman Forever
    Alas, Schumacher doesn't ride on the momentum; worse, he's not an action director, and the film grinds to a dead stop every time it tries to speed up.
  22. In the Land of Women
    With its wry tone and mild emotional disturbances, In the Land of Women is less a chick flick than a chick flicker.
  23. Poetic Justice
    Poetic Justice is like that - so much worse than it should have been, and yet, for brief shining moments, so much better than any other 2-star film in sight. [23 July 1993]
    • The Globe and Mail (Toronto)
  24. 13 Hours: The Secret Soldiers of Benghazi
    Bay has attempted to carefully characterize and humanize each member of the security force, and Krasinski, Dale and Schreiber are largely successful at creating personable fighters.
  25. The Stoning of Soraya M.
    Though The Stoning of Soraya M.'s heart is in the right place, its head is lost in storm clouds of anger.
  26. Tolkien
    Stately, handsome and ferociously romantic, the new biopic of British high-fantasy writer J.R.R. Tolkien won’t be everyone’s cup of tea, though there is some excellent tea drinking to be had.
    • 41 Metascore
    • 50 Critic Score
    The Waterboy
    As a satire on the only true religion of the American South -- football -- The Waterboy is a delight.
  28. Jeff Who Lives at Home
    This little movie – it's only 83 minutes – seems so determined to if not avoid, then only caress the tropes of slacker films that it commits the worst sin for a comedy: It's boring.
    • 48 Metascore
    • 50 Critic Score
    Super Troopers
    When Farva sees O'Hagan in civilian wear -- a denim jacket and blue jeans -- he asks his boss, "Where'd you get the Canadian tuxedo?" Such moments may not be as exciting as the sight of Homer Simpson at the CN Tower, but they'll do.
    • 66 Metascore
    • 50 Critic Score
    The Last Showgirl
    The sentiment of being thrown to the margins of an industry that seemed predestined to carry you is certainly an interesting point of departure, but the resulting film often feels stagnant, unable to square its romantic impulses – as a frustrated Shelly puts it in one scene, “this is breasts and rhinestones and joy!” – with the fraught realities of these characters.
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