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. Beyond the Sea
    Vanity: the surest road to mediocrity.
  2. Bean
    Bean falls well short of a work of genius. Indeed, the unbearable slightness of Bean feels like nothing so much as a betrayal of the television series on which it is based.
    • 36 Metascore
    • 50 Critic Score
    Harley Davidson and the Marlboro Man
    The overall mood of Harley Davidson and the Marlboro Man may be one of good-natured idiocy, but it's hard to fault a movie for being stupid when stupidity is its one and only raison d'etre. [23 Aug 1991]
    • The Globe and Mail (Toronto)
  4. Mortal Thoughts
    Despite the efforts of the talented director, Alan Rudolph (The Moderns, Choose Me), and his experienced cast, Mortal Thoughts is a formulaic TV-sized feature conceived to cash in, and put a feminist spin on, some of the emotions stirred up by Fatal Attraction; unfortunately, it seldom gets intense enough to stir up any emotion. [19 Apr 1991]
    • The Globe and Mail (Toronto)
  5. The Woman on the 6th Floor
    A sporadically amusing, occasionally off-putting French farce.
  6. Underworld
    All of this is accomplished with buckets of blood, but almost no sense of flesh: It's hard to recall a more sexless vampire flick.
  7. Juggernaut
    There are some small-time twists in this small-time thriller and, naturally, McHattie does solid work as one of the more slippery characters Saxon encounters in his quest for justice, but DiMarco just can't sustain enough tension or drama to power the film through a plodding 105 minutes.
  8. Friday the 13th
    Despite an evident appetite for mayhem, however, Bay is not the right guy to produce slasher movies. Horror requires intimacy.
  9. Goon
    What a disappointment.
    • 76 Metascore
    • 50 Critic Score
    Afternoon of a Faun: Tanaquil Le Clercq
    Watching De Clercq dance is not only what Nancy Buirski’s uneven documentary does to best effect, it helps you understand the movie’s otherwise restrictive emphasis on the men who became obsessed by her, primarily her discoverer and husband George Balanchine and the dancer/choreographer Jerome Robbins.
  11. The Adventures of Tintin
    Hergé was the pioneer of an even-handed style of cartooning with solid lines and no shading that became known as ligne claire, but there is a decided lack of clear lines in this erratic movie adaptation of his work.
  12. The Incredible Hulk
    Playing characters familiar to the fans, we have William Hurt as a blustering general, Tim Blake Nelson as a kooky scientist and Tim Roth as an evil soldier who morphs into a monster. All of them seem to be directing themselves.
  13. A Wrinkle in Time
    This pretty movie feels convenient rather than meaningful.
  14. The Cooler
    It's a comedy, it's a romance, it's a gangster flick. The Cooler is all of that and much, much less. This is a movie without a compass, switching pace and direction as haphazardly as a caffeinated SUV driver on a cellphone.
  15. The Notebook
    The Notebook is meant to be a romantic weepy, and you will shed tears - but only from the consistent and exhausting effort of trying to control your gag reflex. Even a body that welcomes a sugar fix will repel a sugar invasion.
  16. The Expendables 2
    Of course, the result is forgettable, but at least it's efficiently and breezily forgettable. What's more, there are laughs too and here's the best part – one or two of them are actually intentional.
  17. K-19: The Widowmaker
    The movie becomes an American salute to military patriotism, anybody's military patriotism. Think of it as "A Few Good Reds."
  18. 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.
  19. A Perfect Day
    A Perfect Day, the first English-language feature from the Spanish director Fernando Leon de Aranoa, is in many ways a remarkable film: a taut, darkly comic drama about the dilemmas of international intervention in civil war, all of it neatly symbolized by one elusive length of rope. It is also, sadly, a film much marred by its sexism.
  20. Opus
    Unfortunately, Opus isn’t able to keep up the tension of its cult-horror mystery, speeding through its reveals with a surprising laziness that feels counter to the care it initially took in building out its story.
  21. Shutter Island
    Was it worth slogging through the nearly two hours of damned muddle to get to those last affecting moments? Not often in movies is the destination so much better than the journey.
  22. The Odd Life of Timothy Green
    As anodyne as it is, Timothy Green may represent the last gasp of a genre, the live-action family fable, that has been an entertainment staple for a couple of generations of moviegoers.
  23. Identity
    Identity opens with its mind nicely intact, suffers a major crisis about 30 minutes in, then bad turns to worse.
  24. Max
    The whole film occupies pretty much the same continuuum -- glimmers of intelligence followed by moments of outright hysteria punctuated by bouts of sheer haplessness.
  25. Return to Oz
    Dorothy's friends are as weird as her enemies, which is faithful to the original Oz books but turns out not to be a virtue on film, where the eerie has a tendency to remain eerie no matter how often we're told it's not. [22 Jun 1985, p.E3]
    • The Globe and Mail (Toronto)
  26. The Spy Who Dumped Me
    The difficulty is that Fogel hasn’t got enough plot here to keep things going at this smart pace. Even by the standards of a spy comedy, The Spy Who Dumped Me’s wafer-thin storyline makes precious little sense.
    • 53 Metascore
    • 50 Critic Score
    The Awakening
    There is a rich movie to be made about this culture of fake seers and gullible marks, but it isn't The Awakening, a dull British import that never lives up to the pretensions of its period setting.
  28. Ella McCay
    Ella McCay, the movie, feels like we’re being bear hugged by a lovable, slightly boozy old grand-uncle who genuinely hopes to find common ground with a new generation, but also can’t help being a little patronizing.
  29. Dolores Claiborne
    Although director Taylor Hackford ("An Officer and a Gentleman") handles the usually cumbersome flashbacks with impressive delicacy, he can't stop the narrative from sinking under its own melodramatic weight.
  30. Dirty Girl
    Dirty Girl isn't. Sorry, but it's just faux grime, a thin layer of bad behaviour that wipes clean with a two-ply tissue to reveal the real movie beneath – all shiny sentimentality.
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