The Globe and Mail (Toronto)'s Scores

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For 7,293 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: 4,350 out of 7293
  2. Mixed: 1,827 out of 7293
  3. Negative: 1,116 out of 7293
7293 movie reviews
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  1. X-Men: Apocalypse
    It’s a goofy, confusing mess of a sequel, a cautionary tale of what happens when a filmmaker lives too long inside his own franchise to realize that no one takes it nearly as seriously as he does.
  2. Kon-Tiki
    In a kind of perverse alchemy, this film manages to turn that narrative gold into dross, and reduce the daunting perils of a 4,300-mile voyage to a ho-hum checklist. Welcome to the reverse magic of the movies.
  3. *batteries not included
    FOR BATTERIES Not Included, intelligence is not required. [18 Dec 1987]
    • The Globe and Mail (Toronto)
  4. A Man Apart
    A paint-by-numbers vigilante movie with the usual rogue cop, murdered wife and trail of vengeance.
  5. Footloose
    While dance sequences are not particularly well edited compared to the new breed of dance flick, Wormald and Hough are exciting hoofers to watch.
  6. Exit 8
    The concept might work for especially patient gamers, but rendered cinematically by director Genki Kawamura, the result is a frustrating and ultimately boring exercise in audience endurance.
  7. Quantum of Solace
    A sequel that immediately picks up the plot of its predecessor, and then proceeds to drive the redeemed franchise right off the deep, dark end.
  8. Choke
    Maybe this stuff works on the page, in Chuck Palahniuk's darkly comic novel, but Choke is awfully tough to digest on the screen.
  9. The Reckoning
    Seems overstuffed and, in its own way, preachy.
  10. The Big Wedding
    It’s just such a shining example of a dull studio comedy.
  11. Love Ranch
    Love Ranch bounces between tongue-in-cheek wackiness and soapy melodrama while rarely hitting a true note.
  12. Over the Moon
    Over the Moon is far more interesting than its animated contemporaries, if only for the parsing of its back story.
  13. 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.
  14. Radio Days
    Radio Days, is an occasionally charming trifle, a cinematic bauble that - held up to just the right light, soft and undemanding - sparkles quite prettily. But add just a hint of the glare cast by a raised expectation, and this lightweight thing fades right out of view. [30 Jan 1987]
    • The Globe and Mail (Toronto)
  15. White Bird
    As Sara and Julien bide their time in the barn, escaping into their imagination, Forster keeps himself interested by turning the movie into an ode to cinema.
  16. Analyze That
    As for De Niro, he seems to have licence to do what he wants here, without much help from the writers.
  17. Higher Learning
    Like an over-ambitious freshman with a term paper, Singleton raises every issue and illuminates none. And, again, this film is better when the combative heat rises, particularly when the long-telegraphed confrontation between Malik and the neo-Nazi finally comes to a (skin)head. [13 Jan 1995, p.C3]
    • The Globe and Mail (Toronto)
  18. Venom: The Last Dance
    Venom: The Last Dance remains steadfast in the franchise’s commitment to storytelling that, like a pot of water that never quite hits boiling point, is neither so-bad-it’s-good nor so bad it’s raucously entertaining, even if only unintentionally so.
  19. The Interview
    Elevated to some vague level of importance, not on merit but by circumstance.
  20. Luck
    Burdened with a needlessly complex conceit, flat character design, limp jokes, and a soundtrack completely absent a single ear-worm (unless you count an overreliance on Madonna’s Lucky Star), Luck feels dredged from the bottom of Pixar’s few lows (Cars comes to mind) than plucked from its many highs (Inside Out would like a word).
  21. Timeline
    Plays out like a 1950s B-movie with a fat special-effects budget. Brain-numbing dialogue, incoherent action and glaring improbabilities aside, it's a bearable combination of sci-fi paranoia and historical fantasy that drags modern viewers, and the robotic hero of "The Fast and the Furious" movies, Paul Walker, back to the centre of the Hundred Years War.
  22. The Krays
    Piously posing as providing a public service, The Krays is little more than an artsy simulacrum of America's Most Wanted. [25 Jan 1991]
    • The Globe and Mail (Toronto)
  23. I'm So Excited
    Exuberantly campy.
  24. Screamers
    If this sounds intriguing, we should add that System of a Down is a lousy live band. And director Garapedian, for all her public-minded zeal, isn't capable of corralling her interviews and opinions into a coherent polemic.
  25. The Mist
    I wouldn't say this is laugh-out-loud risible, but there are definitely moments. Still, you might want to consider sitting through the uneven thing just to get to the ending, because that's quite something. You may love it, you may hate it, but forget it you won't.
  26. Terminator Salvation
    Though competent in its B-movie way, Terminator Salvation lacks the humour, heart-tugging moments and visual pleasure that made the first two movies of the series modern pop masterpieces.
  27. Spirit Untamed
    Despite the predictable plot, there are moments of genuine delight – and they all come from the fresh talent.
  28. 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.
  29. New in Town
    As for the locals, they speak like extras from "Fargo," although, on this go-round, that weird Swedish accent has somehow lost its power to amuse.
  30. Stop the Pounding Heart
    Stop the Pounding Heart is the last of Minervini’s “Texas trilogy,” so this isn’t his first rodeo. Indulgently, he explores a world that is near-fascinating for its insularity, but one that probably calls for photographs instead of this film.
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