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. Killer Elite
    Killer Elite's major problem: motion at the expense of emotion.
    • 43 Metascore
    • 50 Critic Score
    The Prime Ministers: The Pioneers
    Not much room for controversy here, and certainly none for counterargument, this is prime-time TV history rendered as a soothing, Papa Bear bedtime story.
  3. Firehouse Dog
    An entertaining family comedy full of both tricks and trickery.
    • 43 Metascore
    • 25 Critic Score
    Malibu's Most Wanted
    So far as I can remember, no such film has ever asked its audience to experience the level of excruciating discomfort an actual fish must feel when it is gored by a sharp hook, yanked into the air, and left to flail in desperation before succumbing to an agonizing death... Until now.
  5. Palmetto
    The result, as a colleague once so aptly put it, is less film noir than film beige.
  6. Racing Stripes
    The movie, which is roughly as predictable as the attraction of flies to dung, is a hackneyed mix of sentimentality and anarchic comedy.
  7. Eagle Eye
    With less expensive actors, it might just have been called Chase Movie, and played for laughs.
    • 43 Metascore
    • 50 Critic Score
    Maze Runner: The Scorch Trials
    On a thematic level, it remains wholly reprehensible and a fraudulent piece of entertainment. But at least it rips off some better films (Mad Max, Day of the Dead, The Matrix) with a good deal of energy.
    • 43 Metascore
    • 12 Critic Score
    City Slickers II: The Legend of Curly's Gold
    Crystal has a likable screen persona, and he's gracious in sharing his stage, but the movie is essentially an expensive (if quite possibly profitable) act of self-indulgence. [10 June 1994]
    • The Globe and Mail (Toronto)
  10. Survival of the Dead
    Still, even Romero's staunchest fans might conclude their hero is going through the motions here. Yes, almost like a zombie.
    • 43 Metascore
    • 25 Critic Score
    Larger Than Life
    Not much happens of comic consequence. [01 Nov 1996, p.D5]
    • The Globe and Mail (Toronto)
  12. Step Up Revolution
    Dance gets political in Step Up Revolution, the fourth installation of the popular movie franchise, which delivers plenty of spectacular fancy footwork in what is otherwise a flat-footed fantasy.
  13. Hunter Killer
    The action, when it does arrive, is quiet enough to send the most insomnia-plagued of audiences to sleep.
    • 43 Metascore
    • 63 Critic Score
    Star Trek V: The Final Frontier
    The Final Frontier is the funniest - okay, the most intentionally funny - Star Trek yet. [9 June 1989]
    • The Globe and Mail (Toronto)
  15. San Andreas
    Between its steroidic CGI and emotionally vacant plot line, the movie is all flex, no muscle.
    • 43 Metascore
    • 30 Critic Score
    The Transformers: The Movie
    There is so much action in the animated feature, The Transformers: The Movie, that you can't wait to get back into one of those Chrysler products whose vocabulary is limited to "A door is ajar," and "Thank you." [12 Aug 1986, p.C10]
    • The Globe and Mail (Toronto)
  17. Catch and Release
    Despite their hackneyed characters, Smith and Lewis create a tiny spark and add a little humour. Without them, Catch and Release would be totally dead in the water.
  18. The Tempest
    Sad news for Bard watchers: Julie Taymor's adaptation of William Shakespeare's The Tempest is not such stuff as dreams are made on.
  19. The Omen
    Compared to Al Gore's new global-warming documentary, "An Inconvenient Truth," The Omen makes the Apocalypse look comforting and child-friendly.
    • 43 Metascore
    • 30 Critic Score
    Dad
    Dad, showcasing Jack Lemmon in a rubber wrinkle mask (he looks like an elderly E.T.), would no doubt have won more Emmy awards for Goldberg had it aired on the tube, but on screen, it's a tearjerking embarrassment.
    • The Globe and Mail (Toronto)
  21. Jersey Girl
    Mainly bad, and a shockingly bland departure from a hitherto spunky guy.
  22. Suicide Kings
    For most of its duration, Suicide Kings turns into something like a hoary murder-mystery theatre piece in the Agatha Christie/Clue tradition.
  23. Fathers' Day
    Hollywood's big-screen answer to France's 1983 charming film Les Comperes is a wacky star vehicle wildly out of control. [9 May 1997, p.D1]
    • The Globe and Mail (Toronto)
  24. 9 Songs
    With no previous acting experience, she's (Stilley) a natural between the sheets but a rank amateur between the vowels.
  25. The Vow
    While The Vow will give heart palpitations to fans of its charming co-stars Rachel McAdams and Channing Tatum, this amnesia-themed romance is the kind of featherweight fare that is enjoyed in the moment and forgotten soon after the end credits roll.
  26. Bob Marley: One Love
    Although One Love is not a great music biopic, it serves as an acceptable portrait of the man.
  27. Hot Rod
    An inferior "Napoleon Dynamite." Call it Napoleon Firecracker. The film steals one of the best laughs of Jon Heder's surprise 2004 hit, the scene where Napoleon nosedives over a bicycle jump, and stretches the gag into an 86-minute movie.
  28. Antebellum
    Antebellum is a film that lives smugly within its final reveal – and what’s worse, this reveal is more groan-inducing than anything else.
  29. The Angry Birds Movie
    And, make no mistake, this is a movie that is supposed to be seen from the perspective of a small child.
    • 43 Metascore
    • 50 Critic Score
    Equals
    The scenes between Stewart and co-star Nicholas Hoult tend to be long and lingering, even bordering on dull, and the melodramatic music grows bothersome. By the time it reaches its abrupt ending, the only emotion audiences might be left with is boredom.
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