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. Boomerang
    Occasionally, Murphy cuts loose with an ad-libbed riff that's almost funny, but then it's back to the slim-fast plot and the stick-on crudities. [03 Jul 1992]
    • The Globe and Mail (Toronto)
  2. The Invasion
    Haven't they created a movie that is ultimately a soulless clone of a vibrant original and, thus, a splendidly dull example of the very forces it warns us against – the forces of grey and passion-sapping conformity.
    • 45 Metascore
    • 50 Critic Score
    Where in the World Is Osama Bin Laden?
    Exasperating and goofy documentary.
  4. Fantastic Four: Rise of the Silver Surfer
    Like its predecessor, this is a basic bungalow of a flick, where low-maintenance superheroes take their ease and you can pay your (dis)respects painlessly enough. In short, okay to visit, wouldn't want to live there.
  5. Justice League
    No, there's no shortage of interesting characters with intriguing powers on display here, but there's frustratingly little space to tell their individual stories and, biggest problem of all, they lack a worthy opponent.
  6. The Twilight Saga: Breaking Dawn - Part 1
    It's the most jumbled and tonally confused movie yet.
  7. Get Rich or Die Tryin'
    Hard-working to a fault, this is a movie that's all effort and no direction, a movie completely lacking in what its hero eventually finds -- a sense of identity.
  8. Firewall
    Overall, it's a satisfying example of the classic thriller, with a nifty digital update for these times.
  9. Mr. Brooks
    If plots were people, this obese thing would be cuing up for liposuction. Mr. Brooks may well boast the greediest yarn in the annals of filmdom. One serial killer just doesn't cut it – no fewer than four, actual and potential, pack these frames.
  10. The Deep End of the Ocean
    The verdict is easy: Pfeiffer terrific, movie not.
  11. Maid in Manhattan
    J-Lo, Ralph-Lower, Movie-Subterranean.
  12. Love Me If You Dare
    Apparently, the idea of their passion is enough to save them from a life of boredom - if only it had the same happy effect on us.
    • 45 Metascore
    • 50 Critic Score
    Valiant
    Valiant is weak tea next to the best of Pixar and DreamWorks.
  14. American Dreamz
    Hugh Grant's Martin Tweed is nowhere as menacing (or interesting) as the callous bruiser who makes every episode of American Idol a chilling psychotic adventure.
    • 45 Metascore
    • 25 Critic Score
    The Possession
    The film is basically a compendium of possessed-child clichés.
  16. Pirates of the Caribbean: On Stranger Tides
    Judi Dench is much more of a challenge. Drenched in powder and pomp, the grand old Dame pops up in a London carriage. She's there in a flash and then, as quickly, gone, and her fleeting presence is exactly like the fleeting merit of this fourth galleon in the portly franchise: It prompts stirrings, not quite all the way to feelings.
    • 45 Metascore
    • 50 Critic Score
    Damien: Omen II
    Don Taylor, a director who specializes in sequels and imitations dutifully puts image to celluloid without distinction. [10 June 1978]
    • The Globe and Mail (Toronto)
  18. A Minecraft Movie
    If Minecraft is the game where kids exercise their creativity by building new digital worlds full of tunnels and fortresses, A Minecraft Movie is where that creativity goes to die.
  19. The Paperboy
    The Paperboy is southern Gothic wallowing in the swamp of low camp. And if the wallowing were deliberate, this might have been hugely funny.
  20. Unforgettable
    Unforgettable presents a surprisingly conservative view of mental illness, one that would feel more at home in the pearl-clutching milieu of Leave it to Beaver rather than modern day SoCal.
  21. JeruZalem
    The filmmakers score half a point for at least avoiding the old “hero-who’s-constantly-filming” device, but fail to add anything else to the proceedings, except, perhaps, the movie’s unique setting.
  22. Click
    The only effect is to produce that most commonplace of Hollywood paradoxes -- a mood simultaneously frantic and listless.
  23. Blindness
    It's more like a filmed allegory.
  24. The Leisure Seeker
    Sometimes an outsider’s perspective is a breath of fresh air. In this one, you feel the director holding his nose.
  25. Elizabeth: The Golden Age
    A shrill and silly affair, bordering at times on camp.
  26. Pride and Glory
    A talented cast and moments of brutal violence can't dislodge a sense of ho-hum predictability in Pride and Glory.
  27. Sweet Home Alabama
    Light to the point of disposability, Sweet Home Alabama is a small screwball comic idea that spins out far too long.
  28. Madame
    The so-so film’s soul and saving grace is Rossy de Palma, the Picasso-esque muse of filmmaker Pedro Almodóvar, who steals the show and, as the family maid, the heart of a British art dealer.
  29. Jefferson in Paris
    Jefferson in Paris isn't merely wooden; it's concrete. Nor is it simply bad; the thing is astonishingly bad. Sure looks pretty though. [08 Apr 1995]
    • The Globe and Mail (Toronto)
  30. A Liar's Autobiography - The Untrue Story of Monty Python's Graham Chapman
    The film only really has a pulse when it switches to live action in a few brief archival snippets, most memorably in John Cleese's appropriately outrageous eulogy for his late friend, an offering in the name of "anything for him, but mindless good taste."
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