The Globe and Mail (Toronto)'s Scores

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For 7,294 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: 4,351 out of 7294
  2. Mixed: 1,827 out of 7294
  3. Negative: 1,116 out of 7294
7294 movie reviews
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  1. Cloudy with a Chance of Meatballs 2
    Unfortunately, the film promises more fun and laughs than it delivers, and this meal tastes like too many that have gone before it.
  2. The Banger Sisters
    Could have taken a witty scalpel to baby-boomer posturings. But Dolman, whose instrument of choice is the rubber mallet of smarm, just isn't the man for the job -- he ends up enshrining the very hypocrisy that should be dissected.
  3. Betty Blue
    Glamorously tragic, Betty Blue is sensually shot and persuasively performed, but a solitary thought dropped into boy genius Beineix's colorfully bedecked wishing well of a movie would echo emptily into eternity. [12 Sep 1986, p.D1]
    • The Globe and Mail (Toronto)
  4. Introducing the Dwights
    The script's attempt to splice together a fumbling love story with a portrait of toxic personality disorder feels incongruous, like a serving of porridge flambé au whisky.
    • 49 Metascore
    • 50 Critic Score
    Downhill
    It’s plagued from start to finish by wavering intentions that result in an unfocused, unfunny film.
  6. The Loveless
    The Loveless is neither trashy nor fun. It's art - or so it thinks, but its self-consciousness is grating and its congratulation of the audience for getting the camp is patronizing. [10 Sep 1982]
    • The Globe and Mail (Toronto)
  7. Hardcore
    On the most rudimentary levels - basic believability and coherent exposition - Hardcore is a joke without a punch line. [03 Mar 1979]
    • The Globe and Mail (Toronto)
    • 66 Metascore
    • 50 Critic Score
    Pavarotti
    It’s a sweeping story, but for those already enamoured with “the people’s tenor," Pavarotti is unlikely to offer any new insights into his life.
  9. Brassed Off
    As well-meaning elegies go, especially ones to working stiffs prematurely ripped from their subterranean roots, Brassed Off is the pits: It's a miner opus in a minor key.
  10. Flightplan
    By the final act, involving possibly the most far-fetched scheme since Dr. Evil aimed his death ray at Earth in "Austin Powers: The Spy Who Shagged Me," the indifference has become completely contagious.
  11. The Nun
    The plot is simple, the character development is lazy and the use of the oh-my-God-there’s-someone-right-behind-you device is tiring. Still, the premise is sound. Evil in the church – who would have thought? Duh-duh!
  12. Killer Elite
    Killer Elite's major problem: motion at the expense of emotion.
    • 42 Metascore
    • 50 Critic Score
    The Star
    Clumsy, derivative, mildly amusing and ultimately forgettable.
  14. The Traitor
    The Traitor is an exploration of betrayal, according to Bellocchio. He seems to be asking, can a man truly change the course of his life, or is it just a pretense? Unfortunately, this account of Buscetta’s story doesn’t really give us any answers.
  15. Secretariat
    When the movie climactically reproduces that exhilarating Belmont, the fiction is just a pale shadow of the fact, and the realized myth that lives in our memory dies on the screen.
  16. The Help
    Typically, this sort of film is an earnest tear-jerker with moments of levity. Instead, what we have here is a raucous rib-tickler with occasional pauses for a little dramatic relief.
  17. The Four Feathers
    What a featherweight epic this is, the kind of uniformed period piece where the watchword is pretty. Pretty costumes, pretty soldiers, pretty battles; pretty silly.
  18. Big Fat Liar
    Big Fat Liar becomes a progression of increasingly elaborate slapstick stunts, in the brutal, noisy "Home Alone" vein, in which the complexity of the pranks rarely yields a commensurate comic reward.
  19. The Art of the Steal
    As is often the case in these caper flicks, there’s too much plot for insufficient dramatic effect, and alert viewers will suss out where it’s all heading in the first five minutes.
  20. The Vanishing
    By removing the delicacy of the technique and the adept use of flashbacks, and by explaining the characters in the lexicon of Psych. 101, what was once an unconventional and unforgettably terrifying thriller has become a conventional, mildly scary melodrama. The Vanishing has gone up in Hollywood smoke. [08 Feb 1993]
    • The Globe and Mail (Toronto)
  21. The Tree
    By the time we reach the climactic ending, the script clearly calls for an exorcist with a chainsaw to trim back this metaphor run amok.
  22. Maya
    Hansen-Love’s ability to evoke the unspoken remains in full play as she returns to themes of young love and emotional crisis, but much of the film is in English and both dialogue and delivery feel stilted. Meanwhile, it’s never clear why being the object of a youthful crush might be a good cure for PTSD.
  23. This Boy's Life
    The process of remembering that drives the book is gone from the film, boiled away until all that's left is the mundane residue of memory - mere incidents strung together as plot.
    • 55 Metascore
    • 50 Critic Score
    A Jihad for Love
    Conclusions and answers are perhaps luxuries that Sharma's film can't afford.
    • 37 Metascore
    • 50 Critic Score
    The Nut Job
    The Nut Job has a certain lo-fi charm, but it’s hardly a world-beater; with all due respect to Surly, Rocky J. Squirrel’s place in the pantheon would seem to be safe for another 50 years.
  26. 12
    Yes, Mikhalkov has set himself quite the agenda, but in the end the film is too much of a piece with its topic, intensely fascinating yet seriously flawed. The verdict? Guilty, with extenuating circumstances.
  27. Explorers
    The premise of Explorers, directed by Joe Dante, who in the past (The Howling, the TV cartoon sequence of Twilight Zone - The Movie, Gremlins) has had style and ingenuity to spare, is equally promising, but it's worked out with the style and ingenuity of an indolent slug making its way across a slab of hot concrete in hell. [12 July 1985]
    • The Globe and Mail (Toronto)
  28. Nobody 2
    As the medley of violence continues, Stone’s mugging goes from giddily sinister to hammy and exhausting. Same goes for Nobody 2, and also the post-John Wick wave of action movies it’s part of.
  29. Limelight
    All outrageous stuff. Gatien's story is worth telling. Which makes it all the more unfortunate that director Billy Corben presents it in such a methodical fashion.
    • 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.
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