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 Village
    Not only is The Village not credible, its shallowness makes it dislikable, a shopworn gothic plot focusing on stereotypical characters with disabilities, with no ambitions beyond playing a simple-minded audience head game.
  2. Hey Arnold! The Movie
    The updated Dickensian sensibility of writer Craig Bartlett's story is appealing.
  3. xXx: Return of Xander Cage
    It goes without saying that the American public’s relationship to the NSA has changed dramatically since the first xXx movie in 2002 – a sea change that this film seeks to play up – but the script, written by F. Scott Frazier, doesn’t quite know what to do with its critique of the NSA’s unchecked power.
  4. Tooth Fairy
    Sorry to disappoint anyone who saw the cast list of this film and presumed Julie Andrews was going to play the horrific serial killer Tooth Fairy from the Hannibal Lecter movies.
  5. The Lion King
    It’s an entertaining and thrilling tale, if you’ve never seen it before. But you have.
  6. Epic
    There’s a worrisome failure of imagination at work in the title of this movie. It’s actually hard to imagine a more generic title. But at least it’s succinct. It rolls off the tongue much better than Movie That Feels Not So Much Inspired As Engineered According to Conventional Animated Kids’ Genre Requirements.
  7. Leave It to Beaver
    All in all, the new movie version of Leave It To Beaver is faithful to the genial instructive spirit of the TV show, as well as to a recurring theme, Ward's constant adjustments to the Beav's underachieving ways. [22 Aug 1997, p.C5]
    • The Globe and Mail (Toronto)
  8. A Life Less Ordinary
    Here, one begins to suspect that the major impediment is the sensibility of the filmmakers themselves. They don't believe in this stuff, in its unavoidable sentimentality, and that attitude filters down to a perplexed cast.
  9. Dirty Work
    There's an audience for this sort of rude and rough comedy, though it might consist mostly of guys who wear raincoats a lot and prefer their women on glossy paper with staples. [13 Jun 1998, p.C3]
    • The Globe and Mail (Toronto)
  10. Trust the Man
    A botched adult romantic comedy that strands its leading player, and its audience, in a wearying, sitcom-slight battle of the sexes.
    • 68 Metascore
    • 50 Critic Score
    Semi-Tough
    Although Ritchie has blown Semi-Tough as a film, many individual moments are very funny and worthy of praise. [18 Nov 1977]
    • The Globe and Mail (Toronto)
  12. The Founder
    As limp and cold as The Founder is as a movie, it contains one of the finest Keaton performances of his entire career, maybe the one he’s been working his whole life toward.
  13. The Last Five Years
    This bare-bones adaptation is more of a sop to the musical’s fans than a fully imagined movie musical.
  14. Seed of Chucky
    This movie is about the opposite of political correctness. It's about rooting for the bad guy and the black ending, and shouting at the screen whenever you feel like it. If you like that sort of thing, go see it. If you don't, then don't.
  15. Take the Lead
    The whole thing has all the spontaneity of high-school morning announcements.
  16. The Sentinel
    A contrived and tepid thriller that insists on wanting to interest us in its main plot -- the usual nefarious plan to assassinate the leader of the free world.
  17. Amelia
    Amelia is the Mack truck of flight. Heavy and lumbering, it delivers the goods, but there's not an ounce of magic in the thing.
    • 55 Metascore
    • 50 Critic Score
    The Karate Kid Part II
    Although 18 minutes shorter than the 126-minute original, this picture drags unashamedly, and its conflicts are repeated so predictably that the action becomes a kind of water torture. [24 June 1986]
    • The Globe and Mail (Toronto)
  19. The Avengers
    Expected too is the result: a kind of sterile opulence or, if you prefer, a magnificent emptiness.
  20. House at the End of the Street
    I doubt that Lawrence is conscious of this process. Nevertheless, stuck in a dull commercial feature, a very good actor happens upon a new solution to an age-old problem: She improves the script by transcending it, and steals the picture by abandoning it.
  21. Wild West Comedy Show: 30 Days & 30 Nights - Hollywood to the Heartland
    Audiences can watch any number of similarly talented comics on late-night television or, even better, get close to the action at a downtown comedy club.
  22. Percy Jackson & the Olympians: The Lightning Thief
    All dull thunder without a spark of illumination.
  23. Kill the Irishman
    A big, bloated, though frequently engaging gangster movie, Kill the Irishman should properly be viewed late night on TV, flipping back and forth between the film, David Letterman and a west-coast ball game.
  24. Mission: Impossible II
    In keeping with the purloining spirit of sequeldom, Woo plunders his own past. [24 May 2000, p.R1]
    • The Globe and Mail (Toronto)
  25. The Smurfs
    Sitcom star Harris puts his smart-aleck chops to good use as Patrick Winslow.
  26. Two Weeks Notice
    Lawrence isn't nearly as adept at romantic comedy as his stars. His rushed jokes and insensitivity to tone are yet more sad reminders that the genre is an endangered species not because we lack new Hepburns and Cary Grants, but because there are no more George Cukors.
  27. Holy Man
    Holy Man sure isn't raucous; instead, in the main, it's just quietly unamusing.
  28. The Skeleton Key
    A fine, solid cast and fully exploited settings cannot make up for the by-the-numbers screenplay, which is filled with all-too-convenient plot points.
    • 37 Metascore
    • 50 Critic Score
    The Words
    The Words suggests that a story, whether true or not, can help get us through, if we believe it enough. Though this film can't quite pull it off, a good enough thief can get away with it.
  30. The Leisure Seeker
    Sometimes an outsider’s perspective is a breath of fresh air. In this one, you feel the director holding his nose.
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