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. My Policeman
    There are enough secrets, lies and tepidly chaste sex scenes – both of the straight and same-sex variety – to fill a hundred kitchen sinks. But the resulting drama is all drips and drops, no deluge.
  2. Origin
    While Ellis-Taylor is, as always, magnetic onscreen, Origin fails her talents, as well as both its characters and story, by reproducing the flaws of Wilkerson’s book with a stoic conviction.
  3. Cocaine Bear
    The movie, about a doped-up black bear, is a much more lethargic affair, as if the apex predator’s supply was swapped out for some Ativan.
  4. Uncharted
    There is something perversely impressive about a movie that can make globe-trotting adventure seem so relentlessly boring.
  5. Now You See Me: Now You Don't
    While the original Now You See Me had a winking audacity that leaned into the absurdity of its bag of tricks, the newest installment feels rote and lacks the thrill of genuine surprise.
  6. The Wolf and the Lion
    To director Gilles de Maistre’s credit, a story about two astonishingly different animals – who still share a friendship – is rife with footage that puts almost every Dodo video to shame. Yet sadly, nearly all human interactions weigh it down to the point of creating a frustrating, dramatic and heavy-handed film.
  7. Champions
    Harrelson never seems to have his head in the game, and not because he’s playing a character just waiting for his shot to coach the NBA. He and Farrelly appear to be slumming it in much the same way that Marcus is, as if their basic efforts working with a cast with special needs is feel-good and charitable enough.
    • 31 Metascore
    • 40 Critic Score
    Getting Even with Dad
    One of those unmemorable summer movies about which the only good thing you can say is that it has charm. Nothing for everyone. [17 Jun 1994]
    • The Globe and Mail (Toronto)
  9. Freelance
    Too tame in its violence to be thrilling, too flat in its gags to be funny, and too PG-minded to be genuinely sexy, Morel’s film arrives and exits like a mild breeze – totally and utterly forgettable. John Cena deserves better. And so do we.
  10. Mr. Destiny
    Mr. Destiny is a sedated puppy of a movie - meant to be all warm and cuddly, it just lies there like a furry lump, waiting for an invigorating spark that never comes. You almost feel sorry for the inert thing - it wants so much to be loved, and does so little to earn it. [16 Oct 1990]
    • The Globe and Mail (Toronto)
  11. Cadence
    The cast, including the Sheen clan, brings more grace to this material than it deserves, but that only seems to highlight the problem - it's like putting leather-binding on a Hubert Humphrey monologue. [22 Mar 1991]
    • The Globe and Mail (Toronto)
  12. Honey Don't!
    Honey Don’t! attempts another go at a mock, low-brow outing reimagined through a queer lens, but suffers irrevocably from an uncompelling mystery, patterned by a series of gags that leads nowhere.
  13. Alive
    Even though Frank Marshall's latest film Alive is based on a true story of survival, it lacks the very qualities it means to celebrate - spark, imagination and spirit. [16 Jan 1993]
    • The Globe and Mail (Toronto)
    • tbd Metascore
    • 40 Critic Score
    Simple Plan: The Kids in the Crowd
    The band’s story should be a compelling one to tell. But The Kids in the Crowd glazes over the kind of story Simple Plan deserves, instead tending toward a superficial kind of fan service.
  15. Harry & Son
    Certainly, this is meant to be a bittersweet tale of the ties that bind the generations, of the love-hate relationship between a demanding Daddy and his amiable offspring. But nothing really develops, nothing ever connects. [02 Mar 1984]
    • The Globe and Mail (Toronto)
  16. Unlawful Entry
    The actors do their darndest but the script puts few psychological thrills in the thriller, leaving them to work in a vacuum. [27 June 1992]
    • The Globe and Mail (Toronto)
    • 47 Metascore
    • 40 Critic Score
    Only the Lonely
    Admittedly, Home Alone is a tough act to follow, but the Columbus-Hughes aura will probably need vigorous polishing after Only the Lonely. [25 May 1991]
    • The Globe and Mail (Toronto)
  18. Buck Rogers in the 25th Century
    The kind of schlock that is impervious to criticism. Take it seriously and you look like a fool; evaluate it on its own comic-strip terms and you are reduced to talking about costumes and special effects. [04 Apr 1979]
    • The Globe and Mail (Toronto)
  19. The Watchers
    Shyamalan 2.0 is shaping up to be an elegant filmmaker whose work could use more torque. Images like Fanning’s golden locks disappearing into the cold grey fog or reflections layered upon reflections during a climactic stand off caught my eye, if not my breath.
  20. Narrow Margin
    Watching a merely adequate thriller is like eating an ungarnished hot dog - it goes down all right, but where's the spice and what's the point? Narrow Margin combines a solid cast with workmanlike direction and a decent if undistinguished script. Add it up and...you guessed it...all dog and no garnish. [24 Sep 1990]
    • The Globe and Mail (Toronto)
  21. Flesh and Bone
    Thematically, structurally, narratively (hell, pick your adverb), this effort goes way past thin - Flesh And Bone is anorexic. [05 Nov 1993]
    • The Globe and Mail (Toronto)
  22. Bardo, False Chronicle of a Handful of Truths
    Even when the maximalist visuals grab hold – as in, by your collar with an unpleasant yank – it is hard to feel much but exhaustion.
  23. Fourth of July
    This film is a dud all on its own, a watered down Woody Allen facsimile that is long on F-bombs and short on wit, with an internal logic that falls apart with barely a half-cocked glance.
  24. Mortal Kombat II
    As interesting as reading the computer code that was used to create the original Mortal Kombat video game, and about as fun as getting your spine torn out.
  25. Wuthering Heights
    It’s all too silly to arouse, but too garish and annoying to be thoughtful. It feels as if Fennell is torn between having her cake and eating it out, too.
  26. Heads of State
    More often than not, Heads of State feels as if it is missing its own leader, as if the director was simply a package lost in the Prime delivery mail.
  27. A House of Dynamite
    A House of Dynamite doesn’t so much self-destruct as fail to even ignite a spark.
  28. Imaginary
    Imaginary is as dour a slog as M3GAN was a bloody bit of self-aware camp.
  29. Die My Love
    In a more controlled and less punishing film, Lawrence’s deeply committed performance would be the discussion of the year. Yet she has tossed herself to the wolves here, the star provided no care or cover by her director. What is the point in going so raw, so feral, if the result is so scattered, so interminable, so irredeemably silly?
  30. Nocturnal Animals
    When you combine the megawattage of Gyllenhaal and Adams with Ford’s directorial … well, “prowess” would be too strong a word, so let’s go with “vision.” So, when you combine those two actors with Ford’s vision, what you get is a ridiculous, high-camp mess that could easily be mistaken for substance, if it weren’t so irredeemably silly.
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