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. Hyena Road
    Its war scenes are plenty thrilling, but the film’s real achievement is its quiet authenticity.
  2. Nowhere
    The truth is you can find more entertaining absurdities and thrilling nihilism from watching the average episode of Melrose Place or Beverly Hills, 90210 and, at least on those shows, they don't confuse dumb with doomed. [13 June 1997, p.C6]
    • The Globe and Mail (Toronto)
    • 44 Metascore
    • 25 Critic Score
    Hotel Transylvania 2
    Hotel Transylvania 2 is what you might call frivolously scary: scary by mistake, or scary for no reason.
  4. 12 Mighty Orphans
    With its old-fashioned look, quaint unsophistication and self-consciously big heart, this film is Hoosiers meets The Longest Yard, with an Oliver Twist.
  5. Brightburn
    The film is not nearly as strong as its villain. It is, however, just as immature.
  6. Churchill
    The script, written by neophyte Alex von Tunzelmann, is appalling, its plot simplistic and its dialogue alternating between misplaced bits of contemporary psycho-babble and improbable grandiloquence.
  7. Pain Hustlers
    There is no guts to Pain Hustlers’ try-hard gonzo-ness, resulting in a sub-Scorsese style that both underlines and loses its point.
  8. Hostage
    On the plus side, bloated narratives make for a busy action star, and Bruce is quite the workaholic on this outing, clearly eager to rekindle memories of his "Die Hard" glory days.
  9. Walking Tall
    Okay, it's just a movie, but his "reward" just doesn't cut it, even on a basic storytelling level. A crooked casino and a nephew's experiment with drugs are not enough justification for the hero's violent acts of vengeance.
  10. Angels in the Outfield
    For this Disney remake of a saccharine 1951 baseball comedy, the targeted age group has been lowered to around nine. That means plenty of mustard-squirting slapstick and not very much of the beauty and drama of the actual game [15 July 1994]
    • The Globe and Mail (Toronto)
  11. Satisfaction
    As rock-and-roll flicks go, director Joan Freeman's Satisfaction , is a real bar band of a movie; it's derivative, unambitious and uneven, but it's also not half bad. If you bend your mind around its most awkward moments, it also offers at least some of what the title promises. [19 Feb 1988]
    • The Globe and Mail (Toronto)
  12. Who's Harry Crumb?
    Match your expectations to the level of the humor - measurable at about knee-high to a snake's belly - and you just might enjoy Who's Harry Crumb? I mean, we're talking low comedy here, boasting more pratfalls than another losing night at the Gardens. But there is a redeeming factor in this manic equation, a high-flying blimp by the name of John Candy. [08 Feb 1989]
    • The Globe and Mail (Toronto)
  13. The King's Man
    A tonally wild and historically, um, loose First World War thriller, The King’s Man arrives as a head-scratching mess of bewildering ambition and outrageous style.
  14. Lookin' to Get Out
    When the picture is good, it inspires hope and affection; when it's bad, it calls forth sighs and whispers. Lookin' To Get Out is a failure, but it's the kind of failure you feel sorry for. [11 Oct 1982]
    • The Globe and Mail (Toronto)
  15. Renaissance Man
    It transforms that bottom line into a saccharine border, framing the picture with enough faux inspiration to keep Hallmark in cards for a month of Mother's Days. [03 Jun 1994]
    • The Globe and Mail (Toronto)
  16. Foe
    There is an unshakable and electric hum to Foe that ensures director Garth Davis’s work will stay with audiences attuned to its distinct frequency for days, months, perhaps ages.
    • 44 Metascore
    • 50 Critic Score
    Delivery Man
    The director’s avoidance of anything resembling innovative framing or editing will probably pay off when Delivery Man eventually airs on television, where the flimsiness of its jokes and “serious” moments alike should feel less conspicuous.
  18. Faster
    Anyone interested in a no-seatbelts, out-of-control action flick will find much to enjoy in Faster; although even they may prefer seeing it in Blu-Ray at home, which would allow for trips to the fridge for fuel when the film begins to idle in the last reel.
  19. Last Action Hero
    It's not a bomb at all. A dud is more like it - Last Action Hero isn't interesting enough to be explosively bad. For all the inflated pyrotechnics on the screen, the picture seems consistently grey and almost pitiably small. [18 Jun 1993, p.D1]
    • The Globe and Mail (Toronto)
  20. It Runs in the Family
    As an actor, Kirk Douglas still has more to give; too bad he didn't have more to work with.
  21. Next Goal Wins
    The talented performers are ultimately overmatched by a janky script that telegraphs every emotional swerve and narrative beat as if audiences are not to ever be trusted.
  22. Manhattan Night
    Brody plays opposite Yvonne Strahovski, whose femme fatale is less like Lauren Bacall and more like Sharon Stone. Unfortunately, Strahovski’s flat portrayal lacks the basic instincts of Stone, though she does uncross her legs, and that is central to the curve-balling, sex-tape plot.
    • 44 Metascore
    • 50 Critic Score
    Cut Bank
    If you’ve already been to Fargo, or at least visited the place via movies or TV, you’ve got scant reason to go to Cut Bank.
    • 44 Metascore
    • 63 Critic Score
    See No Evil, Hear No Evil
    When it sticks to its strengths - broad physical comedy, Pryor's poetic profanity, Wilder's finely tuned panic - See No Evil, Hear No Evil is a modestly amusing comedy. Were it not so concerned about Speaking No Evil, it might be a good deal more. [13 May 1989]
    • The Globe and Mail (Toronto)
  25. Funny Games (2008)
    Is Funny Games an unqualified success? No, and for this reason: In order to analyze the devolution of violence into entertainment, the premise obliges the film to superimpose a complicated game atop the genre's simple one – in other words, it makes a game out of the game it condemns.
  26. Mortal Engines
    What’s ironic (and frustrating) is that in an era defined by a constant feeling of doom, a story that could actually capitalize on it makes us feel that way only when we all realize it’s been nearly an hour in to the story and we’re still meeting new characters.
    • 44 Metascore
    • 63 Critic Score
    Love, Rosie
    Love, Rosie’s early charm fades by the end, given that, as time (and the movie) wears on, neither Rosie nor Alex get any more mature when it comes to matters of the heart.
  28. Head of State
    You can see Rock hedging his bets right from the opening frames.
  29. Double Team
    Instead of story or suspense, Double Team offers a busy sampling of eye candy. [4 Apr 1997, p.C6]
    • The Globe and Mail (Toronto)
  30. The Raven
    The pervasive gore overpowers the few clumsy attempts at wit here, though the film does have one funny line. As one of Poe's literary rivals watches a razor-edged pendulum slice into his abdomen, the man screams in protest: "But I'm only a critic!"
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