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. Domino
    Scott means for his entertainment package to be hip, hysterical fun. But his stylistic embellishments and indiscriminate appetite for sensation crowds his title character right out of the film.
  2. xXx: State of the Union
    The most gratifying thing about xXx: State of the Union is that nobody wastes much time on character, motivation, plausibility, dialogue or sex -- all that slow stuff that drags down ordinary movies.
    • 37 Metascore
    • 38 Critic Score
    Wrath of the Titans
    Ye gods, there's a lot of hacking and many seismic eruptions in The Wrath of the Titans, the latest 3-D action film that treats the Greek gods as action figures.
  4. The Lone Ranger
    Eccentric and misguided enough to be almost perversely fascinating, the film doesn’t lack nerve; it’s just not very good.
  5. Evan Almighty
    Though far from a disaster of Biblical proportions, Evan Almighty is a mild, sporadically funny comedy in an oversized sentimental frame.
  6. The Face of an Angel
    Winterbottom is not out to thrill, but to lecture on the truth, which, he believes, can only be found in fiction.
  7. Charlie St. Cloud
    What "serious" means for young actors, as we know from Miley Cyrus's "The Last Song," is maudlin, and Charlie St. Cloud is no exception.
    • 37 Metascore
    • 38 Critic Score
    Walking with Dinosaurs
    Unfortunately, the only thing that dies harder in the movies than natural selection is careworn cliché, and Barry Cook and Neil Nightingale’s movie about a plucky, lovestruck pachyrhinosaurus named Patchi subjects our long defunct earthly ancestors to a fate arguably worse than extinction: a life lived in a world of cheese.
  9. Miracle at St. Anna
    Throughout, Terence Blanchard's score swells and sweeps, reminding us, at every moment, what we're supposed to feel. If only we knew what we were supposed to think of this trite mess.
  10. Bad Company
    Feels stale, bloated and willing to get by on sheer familiarity.
  11. Love Don't Cost a Thing
    The music, at least, is welcome.
  12. Tuff Turf
    What if Holden Caulfield turned into Charles Bronson? That piquant premise underlies the lively but confused teen exploitation film, Tuff Turf.
    • The Globe and Mail (Toronto)
    • 37 Metascore
    • 50 Critic Score
    I Now Pronounce You Chuck & Larry
    Somewhere between its loutish humour and laudable sentiments are the traces of a good buddy movie that could, at the very least, have been harmless summer fun.
  14. The United States of Leland
    The United States of Leland has a resonance of "Elephant" without the visual poetry or structural sophistication, or "American Beauty" without the leavening comedy, but it's neither an insightful nor well-made film.
  15. The Search
    The French director’s follow-up to his Oscar-winning silent movie comedy, "The Artist," is everything "The Artist" was not: long, unoriginal and heavy-handed.
  16. Are You Here
    Everything about Are You Here feels like a bottom-drawer script idea that was put together too casually and carelessly.
  17. All the King's Men
    Some performances carry a picture, this one bench-presses it. Sean Penn's work here is so mesmerizing, so intense, so guaranteed to put him front and centre when Oscar reads out the nominees, as to almost obscure the multiple failings of the misguided movie around it.
  18. The Beverly Hillbillies
    Barely dusted off, the humourless stuff is served up straight - damned if it isn't a Hillbillies homage. [19 Oct 1993]
    • The Globe and Mail (Toronto)
  19. Fist Fight
    A stunningly unnecessary comedy, Fist Fight perpetuates unoriginal characters, a preposterous premise and a half-hearted stand-up-for-yourself message.
    • 37 Metascore
    • 25 Critic Score
    Mercury Rising
    Willis has a gift for turning formulaic action flicks -- Die Hard, even Hudson Hawk -- into something with an identifiable personality, but much of Mercury Rising challenges even his charms. [3 Apr 1998, p.C5]
    • The Globe and Mail (Toronto)
  21. Sex: The Annabel Chong Story
    The most disturbing aspect of the movie is not the sex scenes (shot from the waist up) but her face, especially in her porn-star persona: a frozen little smiling mask that suggests a paradoxically intense vacancy.
  22. Analyze That
    As for De Niro, he seems to have licence to do what he wants here, without much help from the writers.
  23. A Life Less Ordinary
    Here, one begins to suspect that the major impediment is the sensibility of the filmmakers themselves. They don't believe in this stuff, in its unavoidable sentimentality, and that attitude filters down to a perplexed cast.
    • 37 Metascore
    • 38 Critic Score
    When Do We Eat?
    Sure, the food looks good and the prayers are worth hearing, but there just isn't enough wine in the world to tempt the prophet Elijah into dropping by this household when this is the company he'll get.
  25. Garfield: A Tail of Two Kitties
    The stellar array of British talent (voicing the various farm animals) and Murray (whom one suspects has rewritten Garfield's lines to be Murray-esque) give Garfield: A Tail of Two Kitties all its energy and make the human actors -- even comedian Connolly -- look and sound like square panels in a two-dimensional comic strip.
  26. Dirty Girl
    Dirty Girl isn't. Sorry, but it's just faux grime, a thin layer of bad behaviour that wipes clean with a two-ply tissue to reveal the real movie beneath – all shiny sentimentality.
  27. The Samaritan
    About a third of the way along, there's a shocking revelation that definitely packs a punch. Problem is, it's followed by a near-immediate return to familiar narrative convention, where the noir ante rises exponentially toward a climax that arrives too hastily and ends too neatly.
  28. Shutter
    Shutter has the look and feel of a proper J-horror film. Tokyo is seen as a series of gloomy gun metal skies. And the acting is more subdued than in Hollywood horror movies.
  29. Love Ranch
    Love Ranch bounces between tongue-in-cheek wackiness and soapy melodrama while rarely hitting a true note.
  30. The Golden Child
    The Golden Child is certainly not a Michael Ritchie movie - the talented director of Smile and The Candidate is never more than a referee in the war between the special effects and the star. The special effects win, which is no victory, but the star is not knocked out. [13 Dec 1986, p.F5]
    • The Globe and Mail (Toronto)
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