The Globe and Mail (Toronto)'s Scores

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For 7,291 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: 4,349 out of 7291
  2. Mixed: 1,826 out of 7291
  3. Negative: 1,116 out of 7291
7291 movie reviews
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  1. The Grandmaster
    There are sequences in Hong Kong director Wong Kar-wai’s new film, The Grandmaster, that are as gorgeous as anything you’ll see on a screen this year, or perhaps this decade.
  2. Gran Torino
    Gran Torino skids into the narrative ditch. By the time it jolts to an ending, followed by Clint rasping a tune to the closing credits, you're more likely to be rolling your eyes than dabbing them.
  3. Honey Boy
    LaBeouf’s script crackles with penetrating dialogue. His acting – LaBeouf portrays a version of his own father – might be the finest of his career.
  4. The Killer
    This is David Fincher’s version of a sitcom: as violently funny as it is hilariously violent.
  5. Splitsville
    Guts will be busted, and sides will be split. Heck, moviegoers might even learn to kiss and make up with comedies for good.
  6. Cars
    Warning: Cars comes unequipped with two essential options -- charm and a good muffler.
  7. Slay the Dragon
    A fascinating, frequently angry and occasionally darkly funny documentary.
  8. Zombieland
    Modestly clever, this is definitely a little thing. Enjoy.
  9. Red Satin
    Part of the charm of Satin Rouge is that it avoids the obvious with humour and lightness.
    • 73 Metascore
    • 75 Critic Score
    Mouthpiece
    In revealing Cassandra’s interior life, Rozema lays bare the modern female condition in an epic battle that is by turns lacerating, soothing and heartbreaking.
  11. Julieta
    It is a busy narrative machine that raises expectations of a tidy ending; instead Almodóvar offers an artfully mysterious conclusion that seems unearned by the movie that preceded it – except, of course, for that lonely stag.
  12. Ferrari
    Mourning her only child, her marriage, and very likely her fortune as the betrayed and sidelined Laura, Cruz goes scorched-earth, incinerating any performer sharing her space.
  13. Antz
    This witty, star-packed and visually splendid kids' movie provides a small-is-beautiful message served on a parodoxically epic scale.
  14. The Lookout
    A sensitive coping drama after all, while still serving up that noirish heist flick with comic flourishes. That's some range, and in 99 succinct minutes too: Most pictures would be lucky to do half as much in twice the time.
  15. News of the World
    Hanks is sturdy as ever, grounding the proceedings in a warm sense of familiar, fatherly comfort. But the rest of the film feels weightless, and at parts unbelievably dumb. One mid-film shoot-out in particular is executed with such listlessness that it’s a wonder Greengrass was able to stay awake while filming it.
  16. Big
    Sure, the premise is identical age-reversal comedies, but this one uses a much higher octane, animating a tired idea with a timeless script, and the result is pop humor at its most appealing - wit and charm spiced with a measured pinch of farce and just the right hint of melancholy. [3 Jun 1988, p.E1]
    • The Globe and Mail (Toronto)
  17. The Hangover
    Rude, lewd and occasionally in the nude, The Hangover brings a collection of fresh faces to the familiar raucous male-bonding comedy.
  18. The Square
    The Square turns from a sharp art-world satire into something egregiously bonkers, a collision of blunt comic beats and heavy-handed social commentary that's more messy than profound.
    • 73 Metascore
    • 75 Critic Score
    The Club
    Even with Pablo Larrain’s signature insights hidden in quiet and seemingly simple dialogue, and even with hints of his trademark dark humour, The Club may be one of the Chilean director’s most disturbing films.
  20. Slam
    Slam is a film about rap poetry, romance and gangster culture that blends melodrama, visceral excitement -- and a lot of preaching. [23 Oct 1998, p.D3]
    • The Globe and Mail (Toronto)
    • 73 Metascore
    • 75 Critic Score
    Journey's End
    The actors are superb at impressing some humanity onto this ugliness. Their civility is in the details: a morning shave, a cheerio and “one small pipe” before jumping the trench and heading into the German line of fire.
    • 73 Metascore
    • 75 Critic Score
    A Borrowed Identity
    Riklis, working from an adaptation of a popular novel by the Arab-Israeli writer Sayed Kashua, is wryly perceptive of the ways each side exoticizes and demonizes the other.
  23. Battle of the Sexes
    The film is surprisingly timely: Today's fierce, revitalized misogyny makes the 1970s male chauvinism droll and quaint in comparison.
  24. River's Edge
    One of the blackest, funniest, most disturbing and annoyingly lingering American films of this or any other year; the annoyance occasioned by the film's tendency to linger is not because River's Edge is not good, it's because it's too good.[05 June 1987]
    • The Globe and Mail (Toronto)
  25. Mission: Impossible - Ghost Protocol
    The movie rolls on, with more clever but increasingly repetitive action sequences that entertain, but drain the film of any credible sense of jeopardy.
  26. The Company
    A love letter to performers who put their egos and bodies on the line.
  27. Ray
    Ray rambles on for two hours and 40 minutes, mining repetitive episodes like a TV miniseries.
  28. Layer Cake
    One of those crime flicks besotted with its own plot.
  29. Palio
    [A] fascinating documentary.
  30. Mask
    The time Bogdanovich spends with Rusty and Rocky, and the time Rocky spends at a summer camp for the blind with a gorgeous blonde (Laura Dern) who falls in love with him, is time that is priceless. The time Bogdanovich spends with the cuddly bikers, especially the time he spends with Sam Elliott in a dismally ingratiating, cockeyed performance as Rusty's boy friend, is time that exacts a terrible toll: credibility. [08 Mar 1985]
    • The Globe and Mail (Toronto)
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