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. Meet Joe Black
    Ultimately, the movie is a perfect mirror of its star -- looks great, seems empty.
  2. American Wedding
    Speaking personally, I wouldn't voluntarily go to this flick. But for those with a greater gross-out threshold, it's a better film than anyone should normally expect in this genre.
  3. Frozen
    Frozen would get props for a novel plot, except that its storyline appears to be ski-lifted from the "Curb Your Enthusiasm" episode where Larry is stuck on a chairlift with an Orthodox Jewish woman who is terrified of being seen with a man after sunset.
  4. Cirque du Freak: The Vampire's Assistant
    More than anything, the film lacks a rapport with its audience.
  5. Basic Instinct
    A perverse, lame-brained thriller that is pornographic, misogynist and homophobic. If that makes it sound appealing, I should also add that it's silly, boring and intellectually insulting.
  6. The Aftermath
    It is the cinematic equivalent of crying after sex, cathartic yet wholly awkward for everyone involved.
  7. Unaccompanied Minors
    Why bother suffering through 90 minutes of bad company for a few moments of holiday cheer? Especially when you can still stay home alone and watch "A Charlie Brown Christmas" somewhere on TV.
  8. A Big Bold Beautiful Journey
    Kogonada fills the vacuousness in the script with knowing nods to all the performance and illusion we commit to when taking the leap – whether in love or (in its meta way) at the movies.
  9. Skin Deep
    Skin Deep, the latest and 36th off the line, could sum up his whole checkered career - it's that good and that bad, by turns terrifically funny and terribly flawed. [3 March 1989]
    • The Globe and Mail (Toronto)
  10. True Colors
    Strip away the transparent moral shading, erase the buddy-picture twist, and True Colors is nothing more than a watered-down mix of Wall Street and The Candidate, a sentimental variation on a sentimental model. [15 Mar 1991]
    • The Globe and Mail (Toronto)
  11. Wonderland
    The main interest here is the acting, which is, by turns, entertaining or just entertainingly bad, with lots of grungy seriousness and Method-trained twitching, but also some moments of real gusto.
  12. Good Deeds
    What the film needs more than anything is Perry's alter ego, Medea – a rampaging bowling ball who might knock all these stiff, upright characters spinning.
  13. Death Race
    Death Race is our unshaven Brit hero's inevitable comeuppance: The Prison Job.
  14. Machine Gun Preacher
    At the end of these "based on a true story" flicks, it's customary to flash photos of the real people over the end credits. There, Sam Childers looks older and less handsome and awfully imposing, a scary sort of cat with raw but authentic tales to tell. I'd like to hear them.
  15. Instinct
    Pardon my pulling anthropological rank, but Instinct -- a movie about an ape-man savant -- seems a quart low on common sense.
  16. Hey, Happy!
    An exuberant mess of a movie. You despair at the mess, at the narrative and structural chaos; and yet you delight in the director's sheer infectious energy.
  17. The Forgotten
    There is nothing worse than a thriller that doesn't play fair... The Forgotten is just a big, fat, obvious cheater.
  18. Back to Black
    The tenderest thing Taylor-Johnson does in Back to Black is remind us how very young Winehouse was when she wowed the world.
  19. Conan the Barbarian
    An excessively brutal adventure comic book is exactly what it has set out to be - a medieval Heavy Metal. [14 May 1982]
    • The Globe and Mail (Toronto)
  20. Trust the Man
    A botched adult romantic comedy that strands its leading player, and its audience, in a wearying, sitcom-slight battle of the sexes.
  21. Monte Carlo
    Gomez, who turns 20 next year, looks much younger than her age and has the thankless task of playing three roles...It feels like a struggle and the screenplay doesn't help.
  22. Clara
    The well-acted Clara lacks clarity, and there’s nothing worse than an out-of-focus telescope.
  23. Dark Phoenix
    A film so dull, flat, and totally joyless that, in the absence of anything compelling unfolding on screen, one’s mind may be forgiven for turning to the corporate machinations grinding behind it.
    • 43 Metascore
    • 50 Critic Score
    Spread
    One of the best things about this film is that ultimately nobody in it is attractive.
    • 43 Metascore
    • 38 Critic Score
    A Dog's Purpose
    Bailey’s journey through space and time and life and death to reunite with Ethan only seems to reinforce the notion that a dog’s purpose is to be man’s best friend. And we knew that already.
  26. The New Mutants
    Instead of funnelling his inspirations into one singular vision that he could call his own, Boone has made a Frankenstein of a franchise movie, a giant elevator pitch that leads directly to the sub-basement of originality.
  27. Brooklyn's Finest
    Each of the actors has strong moments but the relentless intensity becomes monotonous.
    • 43 Metascore
    • 100 Critic Score
    M. Butterfly
    The exceptional story of a low-level diplomat who had a 20-year affair with a man he thought was a woman, is, in Cronenberg's hands, turned into a beguiling masterpiece on the question of self-deception. [01 Oct 1993]
    • The Globe and Mail (Toronto)
  29. Snake Eyes: G.I. Joe Origins
    Watching Snake Eyes (full title: Snake Eyes – G.I. Joe Origins) is not a physically painful ordeal. But it is an emotionally harmful one – a soul-deadening exercise that approximates satire, minus the self-awareness.
  30. Glass
    McAvoy and Paulson fight as hard as they can against Shyamalan’s instincts – even though, as with "Split," it’s gross to watch dissociative identity disorder played for horror and laughs – but theirs' is a pointless battle. The somnambulist Willis and Jackson have the better idea, dozing through their scenes until the cheques clear. (Jackson, to be fair, has the benefit of his character being literally asleep for the film’s first hour.)
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