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. Things Heard & Seen
    While there are the requisite number of jump scares and red-herring narrative fake-outs, Berman and Pulcini – who are odd fits in the first place, given their decidedly non-genre filmography – zig where you expect them to zag.
    • 49 Metascore
    • 63 Critic Score
    A Nightmare on Elm Street 3: Dream Warriors
    Of Course A Nightmare on Elm Street 3: Dream Warriors is repulsive. That is its primary attraction. All right-thinking people will steer clear. But wrong-thinkers with a taste for the grotesque will be in heaven, or the nearest satanic equivalent. [27 Feb 1987]
    • The Globe and Mail (Toronto)
  3. Chloe
    Chloe is director Atom Egoyan’s foray into the realm of what might be called artful trash. This is a high-toned erotic thriller, handled with style and some emotionally raw scenes, aiming for an effect that’s pleasingly unnerving, if not outright arousing.
  4. Wilson
    Perhaps I’ve seen one too many movies in which men who need to grow up have to wreak havoc on other people’s lives to do it. And this is that one too many.
    • 49 Metascore
    • 63 Critic Score
    Escape Plan
    A display of old-school muscle-buddy connivance that’s as flatly preposterous as it is shamelessly entertaining.
  6. Nabbeun namja
    Low, mean and depressingly plausible.
  7. Guess Who
    Guess who sings tired old tune.
  8. Sex Drive
    One smart thing Green's character Ezekiel does is split from Sex Drive as soon as his two scenes are over.
    • 49 Metascore
    • 50 Critic Score
    Daddy's Little Girls
    Whether because of Madea's on-screen absence or the abilities of the two lead actors, Daddy's Little Girls is still a step up for Perry, boasting moments of charm that transcend the usual mess.
  10. S1m0ne
    If this is satire, it's the smug and self-congratulatory kind that lets the audience completely off the hook. Effective satire, the Swiftian brand, seduces us first and then implicates us in the seduction -- we become a target too. But this stuff never gets past the initial step -- it's toothless, as innocuous as the puffery it pretends to skewer.
  11. Starbuck
    Starbuck is unapologetic genre filmmaking with a winning performance from its lead, Huard ( Bon Cop, Bad Cop), a shambling, likeable comedian who can flip, flop and fly off a diving board while maintaining his sex appeal.
  12. Cuba
    Mostly, Cuba is boring. [24 Dec 1979]
    • The Globe and Mail (Toronto)
  13. Death of a President
    A masterly piece of documentary chicanery that kills George W. Bush without once pandering to his legions of ill-wishers.
  14. Lucky You
    So what's Hanson exploring this time? His boring side, apparently.
  15. Far and Away
    It's just a shrunken case of large-screen aspirations wedded to a small-screen mentality. [22 May 1992]
    • The Globe and Mail (Toronto)
  16. Always at The Carlyle
    Unfortunately, because filmmaker Miele also places value in discretion, his snazzy documentary is celebrative – not investigative.
  17. Edtv
    EDtv is precisely the kind of brisk, straightforward, amiable and accessible material that shows Howard’s skills to advantage.
  18. The Good German
    Here's what's good about The Good German: The look is fantastic; technically, the movie is a retro marvel. Here's what's bad: The script sucks; it keeps promising to be clever, engaging, subtle and completely fails to deliver.
  19. Casper
    The movie is pallid, bloated and light enough to evaporate from the mind 10 minutes after you leave the theatre. [26 May 1995]
    • The Globe and Mail (Toronto)
  20. American Woman
    Heist movies usually focus on the crime; road movies on the road. American Woman flicks at those genres, but its focus is somewhere else – on the relationships that develop in the liminal spaces between moments of intensity.
  21. Demolition
    The trouble here is that neither Bryan Sipe, who wrote this highly original script, nor Vallée, remain true to the bitter whimsy with which they began.
  22. Vacation Friends
    Vacation Friends could’ve been the fun, lackadaisical resort comedy it wants to be. Our ensemble has considerable chemistry and are all charismatic performers in their own right. It’s fun to watch Cena in goading jock mode, until Howery jumps off a cliff with his glasses still on. Unfortunately, Tarver’s film soon veers hard on its cinematic jet skis, and falls flat on its face.
  23. 2012
    As always in Emmerich's rollicking Armageddons, the cannon speaks with an expensive bang, while the fodder gets afforded nary a whimper. Of course, that's just part of disaster's simple recipe: Blow us up, then blow us off.
  24. Sing 2
    Given the number of songs worked into the script, there’s a music video quality to the film. If you’re looking for some lighthearted distraction from the worries of the world right now, however, give Sing 2 a shot.
  25. The Reckoning
    Seems overstuffed and, in its own way, preachy.
  26. The Road Between Us: The Ultimate Rescue
    Avrich was probably wise to avoid lengthy digressions into Middle East politics, but if a great film takes the particular and makes it universal, this is not a great film. Given the war that has followed, this individual story must remain only that, circumscribed by the larger context that perforce it can barely acknowledge.
  27. Out to Sea
    By the time the last jerk on the comic premise has been tugged, you might find yourself muttering an age-ist dismissal: this Grumpy Old Man thing (or, in this case, Soggy Old Men thing) is getting kind of old. [03 July 1997, p.C3]
    • The Globe and Mail (Toronto)
  28. The Sacrament
    The tension fizzles as The Sacrament narrows into predictability, indulging every cliché of found-footage filmmaking and Jonestown-styled cult apocalypticism.
  29. Don't Look Up
    Conceived as a climate-change metaphor, but given an oily new layer thanks to the pandemic, the film’s conceit could be sharply effective, in careful hands. But McKay knows only of punching down with meaty fists, so the result is a messy, smarmy assault.
  30. Body
    Just because Body could be made doesn’t mean it needed to be.
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