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. Lazer Team
    The comedy is sophomoric and sort-of spoofy; satire happens here and there.
  2. Aquaman And The Lost Kingdom
    Through design or happy accident, Aquaman and the Lost Kingdom closes out the DCEU on a mid- to high-water mark.
  3. The Ice Road
    The thrills here are both cheap and oddly, comfortingly captivating. Of course nothing can ever kill Liam Neeson, but it is a whole lot of no-brain-necessary fun to watch everyone and everything try.
    • 42 Metascore
    • 50 Critic Score
    Stone Cold
    One is inclined to say Stone Cold is unadulterated trash with no pretensions to art - which means that, judged by the criteria of simple- minded action movies, it is not half bad; it delivers its formulaic goods on time and on budget. [17 May 1991]
    • The Globe and Mail (Toronto)
  5. Inferno
    Perhaps Howard’s dutiful obligation to Brown’s treasure-hunt oeuvre will end here, with the temperate Inferno sparking a resurgence to follow. Dante wrote that “The poets leave hell and again behold the stars.” Here’s hoping that Howard has some shine left in him.
  6. The Lady Vanishes
    Everything about the remake is inferior to the Hitchcock classic. [01 Dec 1980]
    • The Globe and Mail (Toronto)
  7. Captain America: Brave New World
    This is a movie of pussyfooting and sidestepping, unconcerned with race, history, heroism or really any idea at all beyond “Hulk smash.”
  8. Phenomenon
    In a film that offers itself as a Gump-esque moral fable, Phenomenon could serve as a case study of When Smart Films Fail.
  9. Renegades
    Renegades is not just another silly action flick; it's a well-made silly action flick, a superior brand of cotton candy. If you have a taste for the stuff, this should go down just fine. [02 Jun 1989]
    • The Globe and Mail (Toronto)
  10. Holy Man
    Holy Man sure isn't raucous; instead, in the main, it's just quietly unamusing.
  11. Burnt
    Although rich in cast, the bad-boy-chef dramedy Burnt is unremarkable otherwise.
  12. Two Weeks Notice
    Lawrence isn't nearly as adept at romantic comedy as his stars. His rushed jokes and insensitivity to tone are yet more sad reminders that the genre is an endangered species not because we lack new Hepburns and Cary Grants, but because there are no more George Cukors.
  13. Jackass: The Movie
    Essentially a slapstick movie with no plot or -- as my boyfriend called it after recovering from 1½ hours of side-splitting laughter -- "the ultimate big-screen TV experience."
  14. Bad Samaritan
    A few plot contrivances aside, the unspectacular Bad Samaritan is tense and disturbing enough, and worth its weight in popcorn.
  15. Against All Odds
    The film is a howler of illogical, overwrought emotion, inexplicable actions and sudden bursts of bloody violence. [03 Mar 1984]
    • The Globe and Mail (Toronto)
  16. 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)
  17. Parker
    The tight-lipped, give-no-quarter Statham is impeccable as the pitiless yet honourable Parker (though fans of the books will no doubt quibble, especially over the British accent). On the other hand, Lopez, that pleasant sex pot, hasn't a hope of producing the tragic desperation of her down-on-her-luck character.
  18. Celebrity
    It would be easy to dismiss Celebrity as merely a wafer-thin picture about the wafer-thinness of our narcissistic culture. But the truth is shallower and even less engaging -- this flick should have been called “Unpleasantville.”
  19. Taking Care of Business
    There are some laughs here and the cast is accomplished, but this patchwork comedy is a tad threadbare. The bottom-line school of filmmaking. [18 Aug 1990]
    • The Globe and Mail (Toronto)
  20. Daddy's Home
    Daddy’s Home is not the world of Peak Ferrell, where jokes fly fast and absurdism rules the day. Instead, it is a land of predictable punchlines, easy sight gags and easier paycheques.
    • 42 Metascore
    • 50 Critic Score
    The English Teacher
    A potentially incisive character study is buried under layers of fluff in The English Teacher.
  22. The Event
    It's a movie about a nice guy with a lot of friends who dies. It's not really about the wider tragedy the film aspires to represent.
  23. The Stepford Wives
    There is no tonal consistency from scene to scene, swinging from domestic drama to farce. Most of the actors -- especially Matthew Broderick -- look lost.
  24. Vampires
    Crude, rude, nasty fun.
  25. The Rage: Carrie 2
    It's possible to insult even a teenager's intelligence.
  26. Austenland
    Somewhere in literary afterlife, dear reader, Jane Austen has just rolled over and reached for her musket.
  27. Harry and the Hendersons
    What do you get when you cross King Kong with E.T.? Harry And The Hendersons is what, and it's a delightful enough offspring - often funny, occasionally charming and always mighty eager to please. Too eager at times, but that's a forgivable flaw in an otherwise engaging hybrid. [5 June 1987]
    • The Globe and Mail (Toronto)
  28. xXx: Return of Xander Cage
    It goes without saying that the American public’s relationship to the NSA has changed dramatically since the first xXx movie in 2002 – a sea change that this film seeks to play up – but the script, written by F. Scott Frazier, doesn’t quite know what to do with its critique of the NSA’s unchecked power.
  29. Armageddon
    Trying to pick faults with a sound-and-spectacle juggernaut like Armageddon is like taking an ant gun to an elephant: All the movie's staggering conventional weaknesses -- ludicrous plot, weak characterization, incomprehensible staging and ambient racket -- are irrelevant.
  30. The Great Wall
    Zhang’s apocalyptic view of the beasts from above as they swarm over the palace like rats may be a chilling metaphor for what awaits us all if we don’t achieve effective international co-operation – but it is also the too-hasty climax to an underdeveloped martial-arts/monster-movie mashup. East and West are going to have to do better than this.
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