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. Meet the Fockers
    Remember Pam? Lost in the Himalayas of big egos and overacting, she's the invisible character here. If they create a special Oscar for the most thankless part in an ensemble comedy, Teri Polo is a shoe-in.
  2. The Jacket
    Memo to screenwriters cranking out murky existential thrillers: Do not have various characters repeat on several occasions: "I know this doesn't make any sense."
    • tbd Metascore
    • 50 Critic Score
    The Lesser Blessed
    At once a departure from and a follower of teen-movie form, and the fact of the former almost forgives the fate of the latter.
  4. Bikes vs Cars
    There are unresolved questions and puzzling detours along the way, but Bikes vs Cars does show that cars, millions and millions of stationary cars, may yet prove the bike’s best friend.
  5. Trespass Against Us
    It would be nice to say the drama redeems itself with a scene of Fassbender absconding with the cutest puppy ever captured on film, but even that cannot save almost two hours’ worth of narrative dithering and four-letter conversations.
  6. Smart People
    Quaid doesn't have much to work with, and so deflects the portrayal away from the mind toward the body – consistently giving the coot a hunched, pigeon-toed gait. Nice try, but that bird won't fly.
  7. Then She Found Me
    No, there isn't anything wrong with comfort entertainment. Then She Found Me could have, should have been something special - a "Knocked Up" for weary boomers. The only hitch is that it isn't all that entertaining. Nor comforting for that matter.
  8. Ma
    Unfortunately, more often than not, Ma settles into its lack of a refined generic vision and stalls out just before it’s able to hit most of its horror talking points squarely on the head.
    • 70 Metascore
    • 50 Critic Score
    City Slickers
    Crystal is funny in City Slickers but the film is flat and makes the desert feel as cramped and airless as a basement nightclub. [7 June 1991]
    • The Globe and Mail (Toronto)
  10. Rabid
    Rabid is a limp satire with a lacklustre female protagonist, and this shallow remake of a cannibalistic rabies attack film barely leaves a mark.
  11. Swimfan
    With his heavy features and grimacing shyness, Dante provides the best entertainment in Swimfan.
  12. Machete
    Machete is a drinking man's "The Expendables."
  13. Something's Gotta Give
    If the lines in the script were as keenly etched as the ones in her face, Keaton would have had something to work with. Instead, during an especially lovelorn sequence, she's asked to indulge in a crying montage so painfully extended that it has us in tears too -- weeping from embarrassment for her.
    • 44 Metascore
    • 50 Critic Score
    The Hangover Part II
    Undeniably funny in parts, but the salacious spark and brilliant pacing of the original is off.
  15. Detroit Rock City
    The tuneful melodies of their favourite band grace the soundtrack, but let's not confuse this with a rock 'n' roll movie -- the music is just the blank canvas awaiting the higher art of the gross-out.
  16. Tideland
    Tideland is the easiest of Gilliam's films to follow, yet the most disturbing to watch.
  17. Stoked: The Rise and Fall of Gator
    By the end of the Stoked, the viewer is left with a lot of trivia about the history of skateboarding, and scant insight.
  18. Scanners
    The larger budget has given Scanners a high-gloss Hollywood look, the editing is occasionally elegant and the special effects, which consist mostly of imaginative ways of turning actors into meat, provoke from the audience the desired response ("Oh, yuk]"), but he is careful to keep the violence within currently accepted boundaries. [19 Jan 1981]
    • The Globe and Mail (Toronto)
  19. Catch That Kid
    The children are engaging yet the script and direction are not, which leaves the thing to get all bogged down in its own derivative mechanics.
  20. District 9
    Yes, the premise is delightful; no, the delight doesn't last.
  21. Due Date
    Manic with an itch.
  22. The Peacemaker
    A ticket to terminal boredom.
  23. Kung Fu Panda 2
    There just isn't the same zingy rapport. Seth Rogen's praying mantis and Jackie Chan's monkey have no more than a dozen lines between them. Even Jack Black's Po is more subdued.
  24. The Devil's Own
    Certainly, whatever surgery the script doctors performed, it didn't take. The limp result is a picture that is epic in intention and Lilliputian everywhere else.
  25. The Last Unicorn
    Gone from the glittering original are most of the charm and all of the humor, deflating a bright balloon into little more than the rubbery flatness of a Saturday-morning cartoon.
    • The Globe and Mail (Toronto)
  26. Hotel Artemis
    Writer-director Drew Pearce’s Hotel Artemis, however, manages to make the most intriguingly bonkers premise a boring and flat exercise.
    • 45 Metascore
    • 50 Critic Score
    Where in the World Is Osama Bin Laden?
    Exasperating and goofy documentary.
  28. Synecdoche, New York
    Here, there's not much that's funny, there's too much that's too clever by half, and there's not a damn thing that's lively - this is a film about Life whose sin is its lifelessness.
  29. Dead Snow
    So Dead Snow fulfills one zombie-movie prerequisite. It's different.
  30. John Carter
    Epically fantastic would be a welcome change, although epically awful would at least keep the symmetry. Alas, epically bland will have to do.
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