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. Alfie
    [Law] talks straight to the camera like the young Michael Caine, but this time our hunk has got zilch to say. That's because a bastard's candour is off-limits in today's politically correct market — it just wouldn't be polite.
  2. Ghost Ship
    Pretty much what you'd expect -- just another haunted house that happens to float.
  3. Detroit
    And that’s how Detroit unfolds: like a horror film. The film flattens its historical personages and its particularities of time-and-place into excruciating exploitation – somewhere between a Straw Dogs-style “survive the night” home invasion narrative, Milgram experiment moral problem play and racial torture porn.
  4. Tommy's Honour
    Although it’s a kick to see the rough conditions and the full-on roughhousing of old-world golf, the scenes on the links are repetitive. And while the ending takes a severe dogleg turn to soft-focus sentimentality and the soundtrack hounds us to take this thing seriously, the movie is easily resistible.
    • 61 Metascore
    • 38 Critic Score
    Elysium
    One of Blomkamp’s most unlikely conceits is a machine – apparently standard-issue in all of Elysium’s made-to-order McMansions – that can heal all injuries and infections at the flick of a switch. He could have used one to fix Elysium’s battered and broken screenplay.
  6. The Firm
    By then, the lofty ambitions can't disguise the sad reality - it's long, it's cluttered, and it's trite.
  7. Rebel in the Rye
    It wants so much to cover everything, and do so in a way that is so laudatory of Salinger's genius and purity that it never really delves into anything interesting or complex. It merely skims.
  8. Kika
    What we have here is a romp, a funny romp at times, with a clear satiric intent and the expected quota of outrageous style - likable enough, yes, but a rather flimsy thing, a zany fest with its mind on cruise control. [17 June 1994]
    • The Globe and Mail (Toronto)
    • 54 Metascore
    • 38 Critic Score
    Sparkle
    Anyone who has seen "Dream Girls," "What's Love Got To Do With It?" or even "The Doors" will find themselves in familiar (if inferior) territory here.
  10. Slackers
    Before immediately handing the movie an F and sending it off to summer school, give the filmmakers, and especially co-star Jason Schwartzman, credit for their anarchic willingness to try anything to shock a laugh loose from an audience.
    • 35 Metascore
    • 38 Critic Score
    Birth of the Dragon
    Xia's humble sifu lends more gravitas than this dreck deserves, and a rousing, improbable finale in which Lee and Man take on the mob together offers some great fight choreography, but it's all too little, too late.
  12. Mission: Impossible
    Your mission, should you choose to accept it, is to make heads or tails of this Byzantine thing. [22 May 1996]
    • The Globe and Mail (Toronto)
  13. Men, Women & Children
    Both cautionary and comforting (yes, some kids today prefer conversation to cybersexting), Men, Women & Children is as anxious to seem contemporary as any after-school special.
  14. S.O.B.
    It's a satire inferior to the thing it satirizes. [3 July 1981]
    • The Globe and Mail (Toronto)
    • 30 Metascore
    • 38 Critic Score
    The Bride
    That the producer thinks Beals plus Sting equals big bucks at the box office may be the biggest contrivance of all. [19 Aug 1985]
    • The Globe and Mail (Toronto)
  16. The Black Prince
    As entertainment, the film is pedantic and over-dramatic, with the string section working overtime on the soundtrack.
  17. The Only Living Boy in New York
    Director Marc Webb proved he could do youthful love and heartbreak as well as anyone in his debut feature (500) Days of Summer. Here, working with a script by Allan Loeb (The Space Between Us, Collateral Beauty), he puts all the pieces together, but can't make the magic happen.
    • 39 Metascore
    • 38 Critic Score
    Dark Places
    Dark Places lacks the gloomy meditative quality that Gone Girl rode to success on, with none of the grace or subtlety necessary in making a convoluted thriller a watchable enterprise.
    • 42 Metascore
    • 38 Critic Score
    PCU
    The laughs are lame in this annoyingly outdated spoof of political correctness. [5 May 1994]
    • The Globe and Mail (Toronto)
  20. The Face of Love
    After a while, it begins to feel like a confused comedy: How to explain to the neighbours that your dead husband has moved back home?
  21. The Meg
    The makers of The Meg may have gone to school on Spielberg, but the big-budget deep-sea thriller is nothing but bloodless summer filler. Unsure if he wants to have some fun and jump the Sharknado or make a seriously gory fish fest, director Jon Turteltaub has surfaced with nets empty.
  22. Cowboys & Aliens
    Over on the aliens side, it's hard to make out faces, but there's no doubt about their place of origin: These slimy, growling, bug-eyed and distinctly non-scary things are straight from central casting.
  23. First Sunday
    The problems with First Sunday extend well beyond the hokey premise and predictable performances to the fundamentals of script, direction and tone.
  24. A LEGO Brickumentary
    The chipper tale is admittedly interesting, though not “fascinating,” as self-advertised.
  25. The Neon Demon
    There remains a nasty whiff here of a movie that is trotting out lesbian love interests and clawing cat fights for male titillation. With fashion taking the place of ballet, The Neon Demon may well prove controversial in a "Black Swan" kind of way, offering a love-it-or-hate-it debate over the appeal of its melodrama versus the politics of its social critique.
  26. Trouble with the Curve
    Clint has a script. Actually, Clint has too much script, one of those schematic by-the-number jobs that telegraphs its every pitch.
  27. Constantine
    Every time you think you grasp the concept, another layer of outlandish supernatural gobbledygook is laid on top, leaving the viewer feeling as spun-out as Linda Blair's head.
    • 35 Metascore
    • 38 Critic Score
    Star Wars: The Clone Wars
    While the movie and the accompanying series are being pitched to a younger audience than most new Star Wars ventures, parents may be perturbed by the film's relentless violence.
  29. The Terminal
    The net result is a few shaky laughs and one unwavering sensation -- that The Terminal is interminable.
  30. A Kiss Before Dying
    Even the neatness here is borrowed. A Kiss Before Dying isn't a remake; it's a rehash. [27 Apr 1991]
    • The Globe and Mail (Toronto)
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