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. A Dog's Journey
    Heartstrings are pulled like a puppy’s leash; nothing much unpredictable happens.
  2. Prom
    More interestingly, it's also kind of sweet in a contrived and fumbling first-kiss sort of way.
  3. The Samaritan
    About a third of the way along, there's a shocking revelation that definitely packs a punch. Problem is, it's followed by a near-immediate return to familiar narrative convention, where the noir ante rises exponentially toward a climax that arrives too hastily and ends too neatly.
  4. Changing Lanes
    Definitely erratic, this thing -- all in all, it's the sort of commercial vehicle you might want to stay well back of.
  5. Cutthroat Island
    A swashbuckler that plays like an over-dressed serial on a slow Saturday afternoon. [22 Dec 1995]
    • The Globe and Mail (Toronto)
  6. 20 Dates
    It doesn't take a foolish romantic to hope that Myles and Elisabeth live happily ever after. The world just isn't ready for 20 More Dates.
  7. Holmes & Watson
    There are moments, however fleeting, that suggest there’s a decent Mel Brooks-ian farce hiding amidst the wreckage. Deeply, profoundly hidden moments, but peeking through every now and then, an annoyingly sporadic Christmas miracle.
  8. The Day the Earth Stood Still
    As a message movie, it's preachy without being serious; for an action movie, there's a lot of racket but not much fun.
  9. My Big Fat Greek Wedding 2
    There are many plot lines here, but little tension.
  10. It's Complicated
    This is wish-fulfilment fantasy, where the laughs lie in sorting out an embarrassment of riches.
  11. After the Sunset
    Though there are a few annoying moments when the actors get in the way of the scenery, mostly it succeeds.
  12. Virginia
    It's all rather wacky and hard to follow or fathom, although maybe that's attributable to Virginia's schizophrenia veering off on its delusional phase.
  13. Big Bad Love
    The cast is so oddly interesting you wish you could see them doing something less wasteful
    • 46 Metascore
    • 50 Critic Score
    If I Stay
    If I Stay is true to principle in one significant regard: It makes no concessions to anyone outside its teenage female cohort.
  15. Cairo Time
    One disappointment here is that Patricia Clarkson, the queen of indie film, is missing much of her usual spark. Her performance may be aiming for sensual, but too often it comes across more as listless.
  16. Alvin and the Chipmunks
    As for children's entertainment needs, well, having seen both "The Golden Compass" and Alvin and the Chipmunks with a full theatre of four- to 12-year-olds, this reviewer is honour-bound to report that Alvin wins the kids' vote, paws down.
  17. Dragged Across Concrete
    Nearly everyone in this movie, and nearly everything that happens in it, is awful. Vile. Nasty. But it is a nastiness that sticks.
  18. Need For Speed
    Every stage of the race and chase is announced on a webcast conducted by the secret impresario of the illegal De Leon race, a billionaire car enthusiast known as the Monarch, who “nobody knows.” Actually, the Monarch is clearly visible in a corner of the computer screen and he’s played, with jive-spouting brio by Michael Keaton. Hey, the movie isn’t called Need for Logic.
  19. Savages
    So why does Savages feel so calculated, cutesy, free of suspense and trashy only in the uninteresting sense? No doubt, Stone is trying... but it all feels more like flexing atrophied muscles rather than creating a believable experience.
  20. Assassination Nation
    Levinson displays some amazing technical chops – most of which can be traced back to Joseph Kahn, but never mind – and there’s one standout home-invasion sequence toward the end. But some warnings are best heeded.
    • 23 Metascore
    • 50 Critic Score
    Doogal
    The slapdash dialogue and smug vocal talent -- even the presence of the much-loved host of "The Daily Show" is wearying -- detract from the visual appeal of the most energetic sequences (like a raucous train chase) and what's left of Danot's designs.
  22. Anonymous
    The less you know about Shakespeare, the more you're likely to enjoy Anonymous.
  23. King Arthur: Legend of the Sword
    Some might find it stimulating. Others will find it bonkers. Watching Jude Law do a slow-motion howl, for example, is certainly … something.
  24. Youth in Revolt
    In Youth in Revolt , Cera bellies up to the same table once too often. His fresh-faced act is starting to look really stale.
  25. Resident Evil: Apocalypse
    A superior entertainment to both "RE 1" and "Alien vs. Predator."
  26. I Used to Go Here
    The characters aren’t compelling, the comedy isn’t energetic, and the narrative surprises that Rey throws at the screen will be obvious to anyone who has ever heard the word “Sundance.”
  27. The Conspirator
    Redford hasn't moved too far here from an earlier political-thriller template: With its skulduggery, late-night meetings and the contemptuous political cabal out to thwart justice, The Conspirator can be thought of as "All the President's Men – The Lincoln Edition."
    • 49 Metascore
    • 50 Critic Score
    Mary Shelley
    The film is somewhat amusing – especially Tom Sturridge, who turns Lord Byron into poetry’s version of Jack Sparrow – but immediately forgettable.
  29. Misbehaviour
    Each performer tries their best to inject the material with energy and wit and verve, but Rebecca Frayn and Gaby Chiappe’s script has too many threads to weave together, leaving everyone looking a bit stranded.
  30. No Escape
    Whatever seeds of social justice and emotional nuance No Escape may be attempting to sow are undercut by the film’s melodramatic valorization of family values.
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