The Globe and Mail (Toronto)'s Scores

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For 7,295 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: 4,352 out of 7295
  2. Mixed: 1,827 out of 7295
  3. Negative: 1,116 out of 7295
7295 movie reviews
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  1. The Tale of Despereaux
    The movie is a freakish creature, with lush, painterly animation inspired by Dutch and Flemish masters, attached to a convoluted, gloomy narrative punctuated with scenes of sadism that rival "The Dark Knight."
  2. Where the Wild Things Are
    Less an adaptation of its source material than a therapeutic response to it.
  3. Urban Hymn
    Handled by veteran Scottish director Michael Caton-Jones, Urban Hymn is an unimaginative drama, carried by solid acting – Isabella Laughland is chilling as the possessive, menacing Leanne – but let down by an unspectacular script.
  4. Mother's Day
    Mother’s Day is a concocted market-driven holiday, and so is this M&M’s-obsessed movie – candy for the sweet-toothed among us.
  5. Oh Heavenly Dog
    As a risque children's entertainment, it's better than a street-corner dirty joke, but it's no place for adults to hang around. [17 July 1980]
    • The Globe and Mail (Toronto)
  6. Under solen
    Sugary but well-acted little emotional button-presser.
  7. How to Lose Friends & Alienate People
    Unfortunately, both Bridges and Anderson are only intermittently in the movie. And when they're not around, How to Lose Friends loses its satirical edge, becoming an alarmingly safe, almost corny romantic comedy.
  8. Sunshine Cleaning
    It's like an elevated form of sitcom acting, which may be inevitable because this movie, and all its quirky/heartfelt kin, are an elevated version of the sitcom itself.
  9. Antichrist
    The trouble is that Antichrist feels progressively symptomatic of a director losing heart.
  10. Feast of Love
    The movie begins to feel more like a buffet of contrivance than a feast of love.
    • 52 Metascore
    • 50 Critic Score
    Zorro: The Gay Blade
    The real lesson of Zorro the Gay Blade is that Melvin Simon Production had a huge budget to play with - and a lonely little pun to spend it on. [18 July 1981]
    • The Globe and Mail (Toronto)
  12. A Shine of Rainbows
    Sincere performances and the beautiful gold-and-grey Donegal landscape can only go so far in A Shine of Rainbows, a family film that risks drowning in its own syrup.
  13. Heartburn
    The script, based by Ephron herself on her own tua culpa memoir of her marriage, is spread wide, but the film never goes deeper into its subject - estrangement and adultery - than a bent dipstick. Heartburn is gentrified Neil Simon. [25 July 1986, p.D1]
    • The Globe and Mail (Toronto)
    • 36 Metascore
    • 50 Critic Score
    Pure Luck
    Gag is short-lived in predictable plot In this empty confection. Martin Short reprises every character he's ever played, while Danny Glover's detective is straight out of Lethal Weapon. [09 Aug 1991]
    • The Globe and Mail (Toronto)
  15. Big Trouble
    A feature that suffers from the rarity of its wit yet benefits from the briskness of its pace.
    • 45 Metascore
    • 50 Critic Score
    Chasing Mavericks
    I don't know if you have to be a surfer to fully appreciate Chasing Mavericks, but it certainly wouldn't hurt.
  17. History of the World: Part I
    Mel Brooks, the writer, director and producer of History of the World, is an ecologically sound filmmaker, a staunch adherent of recycling. If you laugh the second or third time, you defend the repetition as a variation on a theme; if you don't laugh, the charges are self-plagiarism and lack of imagination. [13 June 1981]
    • The Globe and Mail (Toronto)
    • 44 Metascore
    • 50 Critic Score
    Delivery Man
    The director’s avoidance of anything resembling innovative framing or editing will probably pay off when Delivery Man eventually airs on television, where the flimsiness of its jokes and “serious” moments alike should feel less conspicuous.
  19. Triple 9
    Though compelling in the acting and cinematography, Triple 9’s plot is by the numbers and about nothing.
    • 56 Metascore
    • 50 Critic Score
    Afflicted
    The gradual ramping up of both the camera calisthenics and the gore quotient suggests a movie that’s been very deliberately paced, but that doesn’t mean that Afflicted really gets anywhere, except back to the very basics its state-of-the-art presentation is supposed to transcend.
  21. Rosewood
    Watching this, we should feel an immense amount, but don't, and somehow, decades after this horrible event, that void only seems to compound the tragedy.
  22. Wolf Creek
    While it's not exactly the kind of movie many will feel like catching during a holiday break, fans of the horror genre will appreciate the fresh take on a killer's hunt for fresh meat.
  23. The Eye of the Storm
    For all the talent involved, The Eye of the Storm is an incident-stuffed but lacklustre affair – a case of lots of sturm, but not enough drang – that reaches for a satiric sting and emotional depth it never achieves.
  24. The In-Laws
    In The In-Laws, there is nothing to keep Alan Arkin and Peter Falk from becoming one of the most enchanting comedy teams in movies - nothing except direction, script and cinematography. [20 Jun 1979]
    • The Globe and Mail (Toronto)
  25. Gods of Egypt
    It’s all quest, flash and high action.
  26. Over the Top
    When it gets right down to the climactic business at hand and arm, even the imposing skills of a Golan are put to a rigorous test. For, despite its obvious delights, armwrestling just can't compare to 10 bloody rounds from a pair of vigorous maulers or a brace of chattering machine-guns. [17 Feb 1987]
    • The Globe and Mail (Toronto)
  27. The Other Side
    In the end, the power of Minervini’s pseudo-fiction gives way to a much blander version of pseudo-reality.
  28. White Noise
    But Keaton is a mistake. He's an actor with an innate sense of irony firmly grounded in the here and now. Even as Batman, skepticism was his forte; true belief falls way outside his range.
  29. Now You See Me
    There’s a fine line sometimes, as "This is Spinal Tap" reminded us, between stupid and clever. Now You See Me wobbles along that tightrope for much of its running time.
  30. Deuces Wild
    Brainless, but enjoyably over-the-top, the retro gang melodrama, Deuces Wild represents fifties teen-gang machismo in a way that borders on rough-trade homo-eroticism.
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