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. You Will Meet a Tall Dark Stranger
    Three words: Late Woody Allen. In the autumn of his career, toiling exclusively in Europe, Woody is like an aging cabinet maker still blessed with craft but grown erratic in design.
  2. Honey
    The last thing I want is this: Yet another instance of black culture diluting itself by imitating a white model. Hell, Honey is hip-hop by way of Andy Hardy.
  3. Fatherhood
    The challenge of watching Fatherhood is that it’s tough to make out what sort of a narrative it’s trying to tell.
  4. Lord of War
    Of course, given the abundance of voice-over, Nic Cage is unburdened from any great need to act. But he narrates splendidly, delivering the stuff with an unrepentant glee laced with liberal doses of irony.
  5. Stargate
    Magic it ain't, but competent isn't far off the mark. Neither is hum-drum. [28 Oct 1994]
    • The Globe and Mail (Toronto)
  6. Art School Confidential
    Like a smart-ass student clever enough to see through everyone but himself, Art School Confidential falls victim to the very clichés it wants to puncture.
  7. A Bottle in the Gaza Sea (Une bouteille à la mer)
    The initially cynical Naim suggests Tal's project is insignificant, nothing but a bottle of hope bobbing about in a sea of enmity – and so too this film.
  8. Max Payne
    Max Payne, game or movie, has precious little to say.
  9. Fame
    Perhaps the young performers are in such a good mood because they're liberated from having to play straight-as-a-ruler teen melodrama.
  10. The Time Traveler's Wife
    The Time Traveler's Wife slips the romance cards into a stacked deck – read 'em if you will, but no need to weep.
  11. October Gale
    Clarkson is fascinating to watch, but the denouement is quick and flat. A storm blows over unexcitedly, as does this film.
  12. Coco Chanel & Igor Stravinsky
    It's all picture and no motion, as wooden as its framing. Lovely and lifeless, the result is a traditional portrait of two defiers of tradition.
  13. Unknown
    The art of the classic Hitchcockian thriller is about style, pace and misdirection – and though Unknown is occasionally baffling and involves running and car chases, the film rarely manages to thrill.
  14. GoldenEye
    For devotees of the genre, the bad news is the best news: Bond is back and nothing has changed except the stuntman's canvas - it's bigger than ever, duly pumped up to Schwarzeneggarian standards.
  15. Her Smell
    [A] bafflingly unbalanced film by American auteur director Alex Ross Perry.
  16. Orange County
    This is a picture with a perfect sense of proportion: There's a mini-Hanks, a mini-Spacek and a mini-Kasdan in a mini-comedy that's minimally entertaining.
  17. The Sweetest Thing
    Pimenthal's script consists of the scantiest storyline, framed around a succession of strained Farrelly Brothers-style gags that feel as though they were peeled off the floor of the editing room for "There's Something About Mary."
  18. Cake
    Between a string of post-Friends dismal rom-coms, Aniston has succeeded in these kinds of grownup roles every few years. Here, she negotiates the character’s quirks and contradictions competently, but nothing short of a rewrite from scratch could make Cake palatable.
  19. The Damned United
    Like a skill player who just can't score, The Damned United is all dazzle and no finish and, ultimately, damned frustrating.
  20. Emperor
    Aside from Jones’s broadly entertaining performance as the egotistical Supreme Commander, the movie, directed by Peter Webber (The Girl with the Pearl Earring), is a dud.
  21. Memoirs of an Invisible Man
    John Carpenter, unable to decide what kind of movie he wants, alternates between his thriller-hardware mode (Escape from New York) and his touchy-feelie mode (Starman). The result is that adults may fall asleep in their seats during the dreary chase sequences, while children are going to holler "Ick!" and escape to the candy counters during the mushy stuff. [28 Feb 1992]
    • The Globe and Mail (Toronto)
  22. I Am Number Four
    Say this for I Am Number Four: It's blessedly free of any original sins. Instead, they're all copied. Here a little "Superman," there a bit of "Spider-Man," now it's "Twilight" with aliens, then it's a spaghetti western with trucks – this thing borrows more heavily than an investment bank in an unregulated market.
  23. The Lady Vanishes
    Everything about the remake is inferior to the Hitchcock classic. [01 Dec 1980]
    • The Globe and Mail (Toronto)
  24. 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.
  25. This Is It
    Without either the effect of a full concert spectacle, or up close and personal backstage intimacy, This Is It is neither one thing nor the other.
  26. Cursed
    The problem lies with Williamson's script, which feels as if it has been torn from different places and glued back together like a ransom note.
    • 19 Metascore
    • 50 Critic Score
    Grown Ups 2
    Like its predecessor, Grown Ups 2 is proudly retrograde, both in its relentless deluge of toilet humour and the way it bear-hugs some good old-fashioned conservative values.
  28. The Siege
    This is a dumb action flick that pretends to have a brain, a spot of affectation that plunges the audience into double jeopardy -- forcing us to traipse through not just the standard litter of bloody corpses but (oh, damn) the added trash of bloodless ideas.
  29. Dennis the Menace
    But, if you want a treat, keep an eye out for Joan Plowright's turn as Mrs. Wilson. It's a classic example of how much a great actor can do with a tiny part in a nothing film. [25 June 1993]
    • The Globe and Mail (Toronto)
  30. Friday the 13th: The Final Chapter
    The appeal of the Friday the 13th cycle is difficult for any one who has not seen the movies on a Saturday night in a packed theatre to understand: they are an exercise in collective adolescent camp. As each victim falls to Jason's wrath, the kids cheer and laugh, and the gorier the death, the better. By the standards of that audience, part four is perfection: there are more gruesome homicides than Pauline had perils. [17 Apr 1984]
    • The Globe and Mail (Toronto)
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