The Globe and Mail (Toronto)'s Scores

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For 7,302 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: 4,357 out of 7302
  2. Mixed: 1,829 out of 7302
  3. Negative: 1,116 out of 7302
7302 movie reviews
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  1. Joker: Folie à Deux
    Why so serious, Phillips seems to be saying, in this follow-up. Relax, it’s all entertainment. The challenge, however, is that Joker: Folie à Deux is more ponderous rather than acting as a riposte. It has its moments of movie magic, but they largely get overshadowed by the weight of this redemption endeavour.
  2. Project X
    Judged by the usual aesthetic standards – Project X sucks. It's just another lame movie. Yet apply a different standard, the mores of our time, and you get a different verdict: Suddenly, it's a perfectly lame movie that speaks intriguingly to the way we live now.
  3. Rambo
    Can anyone still be rooting for Rocky or Rambo?
  4. Beerfest
    Beerfest is safety-by-numbers comedy. A troupe, as opposed to a single comic star like Adam Sandler, shares the comic load and, well, at least the film is funnier than "Click."
  5. The Break-Up
    Although possessed of a laudable desire not to be yet another run-of-the-mill, wacky-impediment, I'm-nobody-and-you're-the-Prez's-daughter romance comedy, damned if the picture can figure out how to be an anti-romance comedy.
  6. Touch of Pink
    Tasty and sweet, if a little on the mild side.
    • 46 Metascore
    • 50 Critic Score
    The Last Days on Mars
    Although ably directed by feature first-timer Ruairi Robinson, and gamely performed by a cast professional enough to feign alarm and surprise, The Last Days on Mars ultimately confirms what science has already spent billions of dollars establishing: There’s just no life here.
  8. Knight and Day
    Mangold's larger problem is trying to hold together a movie that jerks about in tone as much as it does location, veering between grisly humour and cutesy sentiments.
  9. The Upside
    Cranston and Hart fight tooth and nail to keep the film as charming as possible, though, with Hart going to particularly impressive lengths. It almost works, until you remember it shouldn't.
    • 46 Metascore
    • 50 Critic Score
    The Exorcism of Emily Rose
    Positively hops with jolts and frights but they're the cheap kind.
    • 46 Metascore
    • 50 Critic Score
    Must Love Dogs
    What's curious about the film, in an anthropological way, is that it's made up of a series of false human moments yet remains entirely predictable.
  12. The Public
    The Public is writer-director Emilio Estevez’s grand, well-meaning and extremely dumb vanity project/tribute to the public-library system.
  13. The Queen of Spain
    Trueba, 62, has reassembled a lot of the old cast, most of whom play characters trying to recapture old magic. Make of that what you will. It's fun.
  14. The Crossing Guard
    The result is a curious mix - a picture that simultaneously seems meanderingly loose, affording the cast plenty of performing space, and suffocatingly tight, choking off the audience from any interpretive engagement.
  15. White Nights
    White Nights is too ponderous to have the pizzazz of trash and too dumb to have the insight of art - it's a lumbering behemoth of a film in which the extraordinary talent of its one authentic star, Mikhail Baryshnikov, is exploited in a Cold War cartoon that suggests a musical adaptation of Ayn Rand's anti- Soviet novel, We The Living. [22 Nov 1985]
    • The Globe and Mail (Toronto)
  16. Spaceballs
    Candy and Moranis are real talents, but they're completely wasted, like everyone else here, sacrificed to the grade-school inanities of that self-indulgent script. [26 Jun 1987, p.D6]
    • The Globe and Mail (Toronto)
  17. The In-Laws
    But uneven acting isn't fatal here, since Andrew Bergman's screenplay is strong enough and Andrew Fleming's direction seamless enough to carry it forward.
  18. Kiss the Girls
    Here's the kind of movie thriller that can make you scream (in annoyance) and bite your nails (to pass the time) and sit on the edge of your seat (ready to bolt the theatre).
  19. Jetsons: The Movie
    Not surprisingly, the menage breaks down in the first few frames, depriving us on two counts - we get neither the smart-aleck naivete of yesterday nor the self-conscious slickness of today. [6 July 1990]
    • The Globe and Mail (Toronto)
  20. The Watchers
    Shyamalan 2.0 is shaping up to be an elegant filmmaker whose work could use more torque. Images like Fanning’s golden locks disappearing into the cold grey fog or reflections layered upon reflections during a climactic stand off caught my eye, if not my breath.
  21. Second Act
    The film feels as finely tailored to J. Lo as the booty-enhancing pencil skirts she wears throughout the movie: Second Act’s Maya from Queens is our Jenny from the Block.
    • 46 Metascore
    • 38 Critic Score
    A Previous Engagement
    Though frantic from the get-go, A Previous Engagement rarely finds its feet. Devoid of the fine balance of grace and chaos necessary to any screen farce, the proceedings are slapdash, repetitious and badly overextended.
  23. Yes Man
    Yes Man puts him back in the same old quandary and, once again, Carrey lacks an identity. Alas, this time, he also lacks a script.
    • 46 Metascore
    • 38 Critic Score
    Weird Science
    Like a little boy playing with his first chemistry set, Hughes has thrown together the labelled contents of just about every teen-film cliche. And the experiment is a failure of excess - like a furious potion that bubbles up, fizzes briefly, and then fizzles out before expectant, and then disappointed, eyes. [3 Aug 1985]
    • The Globe and Mail (Toronto)
  25. D.C. Cab
    D.C. Cab is a high-energy comedy in desperate search for the big laugh. So desperate that the film has the manic pace of a sitcom gone bonkers. The score pounds, the cars careen, but the laugh is never found. And a few chuckles are a minor reward for a major assault. [19 Dec 1983]
    • The Globe and Mail (Toronto)
  26. Smilla's Sense of Snow
    Regresses into a lame action-thriller.
    • 46 Metascore
    • 63 Critic Score
    Held
    The film is scary not in its extraordinary imaginings but in the mundane familiarity that underpins those imaginings.
  28. A Chorus Line
    On film, Bennett's bouncing brainchild is Richard Attenborough's Workout Tape, love story attached; the specificity is gone. The 16 auditioning dancers could be any people or all people. [11 Dec 1985]
    • The Globe and Mail (Toronto)
  29. Cheaper by the Dozen
    The same studio has aimed a remake at the same family market. Translation: The once-modest piece has been redesigned as a vehicle (a lumbering SUV) for Steve Martin, stripped of any vestigial charm, and then thrown into neutral, where its manic engine does nothing but roar loudly and pointlessly for the duration.
  30. The Heartbreak Kid
    This remake is distinctly a Farrelly brothers' flick -- sentimental, rambling and raunchy.
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