The Globe and Mail (Toronto)'s Scores

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For 7,299 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 2.9 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: 4,355 out of 7299
  2. Mixed: 1,828 out of 7299
  3. Negative: 1,116 out of 7299
7299 movie reviews
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  1. The Medallion
    As for the old and graceful Jackie, he's completely missing in action, his supple talents sacrificed on the high altar of movie technology -- that frenetic place where superheroes are a colossal bore and real ones are sadly impotent.
  2. The Hustle
    The Hustle should’ve been a comedy that served equal parts wit and social commentary – otherwise, why gender-swap? It should’ve given Wilson and Hathaway a means through which to shine. These are talented, seasoned, capable women. And for their experience to be wasted in a production that is below them, below their director’s filmography and below the original material is tragic.
  3. True Crime
    On the whole, the film is content to lumber awkwardly between the condemned man on death row and the intrepid reporter on his save-a-life beat -- there's about as much rhythm in the style as there is sense in the plot.
  4. Six Minutes to Midnight
    The photography is elegant, but nothing else is. With action that is standard and not at all tense, the melodrama is much higher than the reward.
  5. Dragonfly
    Dragonfly has more plot than a figure-skating competition, and just about as much credibility.
  6. Always
    To report that Always will make you cry is not esthetically saying much; slicing up onions has the same effect. Leslie Halliwell's one-word summation of the forties version applies to Spielberg's update for the nineties: "icky." [26 Dec. 1989]
    • The Globe and Mail (Toronto)
  7. First Knight
    The Arthurian legend has received a wide variety of treatments over the years, but this safe, sanitized American version drains the juice smack out of a notorious romantic triangle. [07 Jul 1995]
    • The Globe and Mail (Toronto)
  8. W.E.
    W.E. is a heavily made-up face masquerading as a movie and demanding to be admired – demands that might just leave you with an acute pain in the other end.
  9. Grand Canyon
    The cast is equally strong (especially McDonnell), but the vast subject and the shifting settings force Kasdan all over the map. [10 Jan 1992]
    • The Globe and Mail (Toronto)
  10. Flight of the Phoenix
    The countdown begins with the first negative integer — an amped-up score that overpowers the proceedings like a bad band at a high-school dance.
  11. The Lucky One
    Another Nicholas Sparks novel, another cinematic brush with insulin shock.
  12. Welcome To Marwen
    Welcome to Marwen is the ultimate Robert Zemeckis movie. This is not intended as a compliment. The film – not quite comedy, not quite drama, but definitely indigestible – finds Zemeckis embracing his worst late-career indulgences.
  13. Freddy vs. Jason
    Too much chatting, not enough chills.
    • 57 Metascore
    • 38 Critic Score
    Whiskey Tango Foxtrot
    The dialogue is sour, the politics problematic (Broadway veterans as Afghan locals? Why not?!), and the sentiments sometimes eye-rolling. Whiskey Tango Foxtrot, indeed.
  15. Little Fockers
    As for Keitel, he pops up in a brief cameo as a housing contractor, with a dump-truck full of sand, the one that De Niro is standing right behind. The pair engage in a heated argument, as they once did so memorably those many years ago, and then the truck dumps that load exactly where you know it must. An esteemed actor gets buried but, what-the-fock, the franchise laughs on.
  16. Exorcist: The Beginning
    The devil is back in Exorcist: The Beginning, and he is more disgusting than ever. Not more scary, just really yucky, in a kind of maggots-on-a-pizza-slice way.
  17. Candyman
    In its attempts to revisit the original film’s discrepancies, DaCosta’s film ends up only retracing its narrative inconsistencies with full force and even deeper perplexity. Gone is the alluring entanglement of erotics and fright, replaced here by flat characters limply stumbling over a script intent on hitting us over the head with its social commentary.
    • 36 Metascore
    • 38 Critic Score
    The Wild Life
    It’s dreadfully boring to anyone over the age of 4, but at least it isn’t trying to sell kids anything. I guess that’s a plus.
  19. Ed Wood
    A cinematic homage as flawed as its subject. Flawed, yet with a peculiar fascination of its own -- what we have is a genuine artist paying sincere tribute to an unapologetic mediocrity, and stooping awkwardly to the task.
  20. The Innkeepers
    Admittedly, it's been a long time since Kelly McGillis was being hyped as "the next Grace Kelly." But of all the films in all the world for whom the former Top Gun lust object could have done a walk-on, this lacklustre haunted-house feature is the one she chooses?
  21. Breakthrough
    For the already faithful, believing in John’s miraculous recovery demands not a leap of faith, but a small hop. The film tells them absolutely nothing that they don’t already presume themselves to know. So what, then, is its point?
  22. Bronco Billy
    Casting Eastwood in a friendly, bumbling, light romantic lead is like asking Ethel Merman to sing a lullaby: in the end, nothing is forthcoming but overkill. Clint Eastwood was already famous for that. [16 June 1980]
    • The Globe and Mail (Toronto)
  23. Fun with Dick and Jane
    None of this is funny enough to justify stealing 90 minutes of your viewing time.
  24. The Benchwarmers
    An underdog's breakfast of a movie, with some quite funny characters and set pieces mixed with some excruciating "moral lessons," but at least it moves along at a brisk pace.
  25. Mortal Engines
    What’s ironic (and frustrating) is that in an era defined by a constant feeling of doom, a story that could actually capitalize on it makes us feel that way only when we all realize it’s been nearly an hour in to the story and we’re still meeting new characters.
  26. The Hitcher
    A slasher movie about gay panic, a nasty piece of homophobic angst for the age of AIDs. [25 Feb 1986]
    • The Globe and Mail (Toronto)
  27. King of New York
    That's the allure of the genre. Succeed, and you're artful, thoughtful, and popular all at the same time. But fail, and you're the King of New York. As failures go, this is typical enough, smugly dividing the world into good gangsters and bad ones. [9 Nov 1990]
    • The Globe and Mail (Toronto)
    • 39 Metascore
    • 38 Critic Score
    Flashdance
    Cranked up at double speed, the plot of Flashdance could almost be a satirical fantasy about dance students. Although Flashdance doesn't admit it's a fantasy, neither does it succeed in looking realistic. [16 Apr 1983, p.E5]
    • The Globe and Mail (Toronto)
  29. The Package
    The ads give this a Lamborghini label, but under the hood, it's just a clunker that putzes along like a suburban sedan. [26 Aug 1989]
    • The Globe and Mail (Toronto)
  30. Bad Teacher
    Bad Teacher should be a hoot. But it isn't. Love the theory here, hate the practice.
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