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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    • 39 Metascore
    • 50 Critic Score
    Tammy
    As a script it is uneven and tonally inconsistent – best as a brainless, gross-out comedy, less successful when striving for emotional poignancy.
  2. Ella McCay
    Ella McCay, the movie, feels like we’re being bear hugged by a lovable, slightly boozy old grand-uncle who genuinely hopes to find common ground with a new generation, but also can’t help being a little patronizing.
  3. Arthur and the Invisibles
    Arthur and the Invisibles may be a tale for children, but it's got the bad habits of a profligate adult -- the thing borrows shamelessly from its betters and then pretends to be self-sustaining.
  4. P.S. I Love You
    This sappy thing is a two-hour cheat that never plays fair for a nanosecond.
  5. Annie
    In the end, this musical is not a disgrace - Huston has too much experience to let the thing die. But he cannot summon the magic required to let it live. Watching Annie is like being buried alive in balloons. [21 May 1982]
    • The Globe and Mail (Toronto)
  6. Pirates of the Caribbean: Dead Men Tell No Tales
    The most engaging performance is Javier Bardem’s solidly nasty Captain Salazar, the undead commander of a ghost ship. His disintegrating skin and holey crew are fabulously rendered as evaporating digitizations: It’s the special effects and swelling action sequences that make the movie palatable.
  7. Dear Evan Hansen
    The songs are clever; the actors dig in (especially Amy Adams and Julianne Moore as Connor and Evan’s moms, respectively). And Ben Platt’s voice is undeniable, a thing of wonder, a pure emotion-delivery system. You will be moved.
  8. Fat Albert
    The result plays like an extended Pepsi commercial without the Pepsi.
  9. Michael
    What could have been a layered, insightful portrait of the most complicated, significant figure in pop-culture history has been reduced to a supersized music video slash concert documentary, the man in its mirror more of a faded reflection than anything else.
  10. Reign of Fire
    Reign of Fire never comes close to recovering from its demented premise, but it does sustain an enjoyable level of ridiculousness.
    • 39 Metascore
    • 50 Critic Score
    The Intruder
    To watch Charlie as merely a character in a film is maybe not enough. His overwhelming encroachment on the lives of the Russell family is, however repetitive on screen, a physical embodiment of the agony of knowing something that other people refuse to see, of knowing too much and not being believed.
  12. Woodshock
    Woodshock is a sensuous, visual tone poem of human consciousness. It works even when the languid pace, disorienting shifts and Theresa's elastic perception of time stretch a little too thin.
    • 39 Metascore
    • 25 Critic Score
    Diary of a Wimpy Kid: The Long Haul
    Packed with stilted performances and hackneyed jokes from the road-movie playbook, it doesn’t work unless you’ve never seen another film in your life.
  14. The Return of Swamp Thing
    A mere action suspense adventure lacking the depths of the original. [14 July 1989]
    • The Globe and Mail (Toronto)
  15. Planet 51
    Bursting with potential that never gets realized.
  16. Love, Guaranteed
    And before anyone pulls out the “guilty pleasure” card – no. There is zero pleasure here, no matter how low your bar is currently set. Only pain. So much pain.
    • 39 Metascore
    • 25 Critic Score
    Planes
    Despite gorgeous visuals from an army of Disney animators, the film is one of the weakest the studio has produced in years and deserved a bargain-bin DVD release.
  18. Till Human Voices Wake Us
    Nevertheless, in mid-reverie, there's no denying the pleasure in falling under its little spell -- till human voices wake us, and we frown.
  19. The Lucky One
    Another Nicholas Sparks novel, another cinematic brush with insulin shock.
  20. The Dirt
    Rock 'n’ roll biopics can be mindless fun, but they never deserve to be this empty-headed.
    • 39 Metascore
    • 50 Critic Score
    Tai Chi Hero
    As the middle part of a proposed trilogy, Tai Chi Hero may ultimately look better in light of its own sequel (which, based on the evidence here, will double-down on the steampunk stuff), but now, its pitched battle between silliness and solemnity feels like a split decision.
    • 39 Metascore
    • 70 Critic Score
    Yellowbeard
    The best way to approach it is not as a comedy but as a straight pirate movie with exceedingly odd twists. Certainly it makes better use of its sterling actors than The Hound of the Baskervilles (1978), also co-written by and co-starring Cook, made of its sultans-of-comedy cast. [30 Jun 2006, p.R25]
    • The Globe and Mail (Toronto)
  23. After the Sunset
    Though there are a few annoying moments when the actors get in the way of the scenery, mostly it succeeds.
  24. Sister Act 2: Back in the Habit
    Whoopi (a beleaguered figure these days) single-handedly cranks up the volume now and again, earning a chuckle or two, but then settles lazily back, apparently content to bank on the formula and imagine the box- office. [10 Dec 1993]
    • The Globe and Mail (Toronto)
  25. Him
    While HIM’s visual and cinematographic landscapes might be stylistically evocative at times, they lack in narrative substance and a discerning formal logic, reducing images and themes rife with narrative potential into a series of hollowly aestheticized surfaces that squander the film’s own potential as well as the talent of its actors.
  26. The Mysteries of Pittsburgh
    Remember the final page of Gatsby, a real American tragedy, when the green light beckons us into an ever-receding future? Now that was a mystery. This is, well, Pittsburgh.
  27. Mile 22
    Somehow, Mile 22 devolved from what Berg promised STX would be – “the new wave of combat cinema” – to exactly the kind of generic late-summer garbage any studio could, and has, released for Augusts immemorial.
  28. Senseless
    Just how dumb is Senseless? So dumb it even takes the fun out of stupid.
  29. Our Family Wedding
    We know to a certainty what will happen. More to the point, the writers know that we know. But here’s the intriguing bit: They don’t care. Rather, their job as diligent Tinseltown hacks is simply to devise ways of filling up the remaining 90 minutes.
  30. Pet Sematary
    Had the film version of Pet Sematary, adapted straightforwardly by King himself from the novel, and directed with horrifying ineptitude by Mary Lambert (Siesta), been any good, it would have been a sizzling shockeroonie, in that it deals, to borrow King's italicized style, with things best left undealt with, notably resurrected murderous children and the terrors instilled by terminal illness. [24 Apr 1989]
    • The Globe and Mail (Toronto)
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