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. What Happened Was...
    A jagged slice of life, What Happened Was ... converts an ordinarily clumsy date into an extraordinarily touching encounter, without the aid of melodrama and with no loss in credibility. For us no less than the star-crossed characters, it's a leap into a shallow end that turns perilously deep. [30 Sep 1994]
    • The Globe and Mail (Toronto)
  2. Florence Foster Jenkins
    As fine as Streep is, however, it’s Grant’s movie.
  3. Dragonslayer
    Dragonslayer documents what happened when California stopped dreaming.
  4. Francofonia
    “Who would we be without museums?” Aleksandr Sokurov wonders as he narrates this challenging philosophical essay, and sifts materials back, forth and around in the Louvre’s history.
  5. Mavis!
    It’s short on personal details and instead focuses on the performer’s vocation. And when the concert footage slows the doc’s energy down, Mavis’s zest adds buoyancy to the proceedings.
  6. The Great Escaper
    The film is a slight but sweet ode to a particular flavour of Britannia that will leave its target audience in sentimental shambles.
  7. Drinking Buddies
    Not much happens in Drinking Buddies, which, frankly, is refreshing.
    • 71 Metascore
    • 75 Critic Score
    The Theory of Everything
    Even if you were never the sort who cared what goes on behind others’ closed doors, the Hawkings’ drama is catnip. And if you’ll excuse the pun, you could say it was only a matter of time before Hollywood came calling.
  9. The Descent
    For those who like their horror served straight up with no ironic chaser, The Descent is a tasty cup of torment.
  10. A Perfect World
    A Perfect World is perfect indeed - for the initial 15 minutes. After that, the fault-lines start to emerge, widening, widening, until the thing cracks open and falls apart. [24 Nov 1993]
    • The Globe and Mail (Toronto)
  11. Dogman
    The naively amenable character is wonderfully observed by Fonte, and early scenes show delicious whimsy and black comedy...but as the film’s numbing brutality takes hold the character’s passivity makes the action drag in places.
  12. Dawn of the Dead
    Any culture that can create the kind of self-criticism exemplified in work of the Pittsburgh horror master is far from a lost cause. [29 June 1979]
    • The Globe and Mail (Toronto)
  13. Mesrine: Killer Instinct
    While Mesrine: Killer Instinct certainly deserves a place among memorable French gangster films, Richet never delivers a clear theme here, let alone a plot.
  14. Get On Up
    Where the film fails is in its fizzled, melodramatic ending. The problem is that Brown the man had no resolution – no third act.
  15. Blitz
    While it may depict events of the past, its relevance to the present couldn’t be more striking.
  16. Bliss
    The result is infotainment dressed up as an art flick. Turkish society is fascinatingly complex and its East/West tensions give rise not to easy allegories but to hard ambiguities. To explore that truth, read any novel by Orhan Pamuk. To escape it, watch Bliss.
  17. The Brink
    Sure, the film’s a bit of a hit job. But hey, as Bannon himself tells us, “There’s no bad media.” Sadly, he’s probably right.
  18. Shazam!
    That’s what Shazam!, and all these endless superhero action epics, amount to: hollow toys smashing against other hollow toys.
  19. Ghostbusters
    Judged by the standards of the comedies that preceded it (and only by those standards), Ghostbusters is relatively sophisticated: it substitutes the silly for the gross, and even manages at the odd moment to take silliness into the sublime. [9 June 1984]
    • The Globe and Mail (Toronto)
  20. Mrs Henderson Presents
    The picture is as tastefully pretty as its girls, and just as motionless.
  21. Into the West
    Into the West has its admirable side - it tries oh-so-hard to be a healthy treat for the whole family, and never plies us with cheap sentimentality. [01 Oct 1993]
    • The Globe and Mail (Toronto)
  22. The Room Next Door
    Ultimately, it all becomes too strained to take seriously.
  23. Light Sleeper
    Bolstered by a solid premise, this film starts out impressively enough - it looks to be a worthy character study. But it soon stops dead, wheels spinning badly, and then, hungry for momentum, lurches off in a completely cockeyed direction. [16 Oct 1992]
    • The Globe and Mail (Toronto)
    • 70 Metascore
    • 75 Critic Score
    The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble
    This unrealized focus is not to say that The Music of Strangers is not worth seeing. It is, for many reasons, not the least of which is Neville’s pacing and the beautiful camerawork, as well as the many fine performances.
  25. Fort Tilden
    Real insecurities live deep beneath the frenemies’ cringe-worthy obliviousness, though all credit to the filmmakers for allowing their comeuppance to contain none of the empathy the girls deny everyone else.
  26. Prisoners
    Subtly crafted and compelling, but it suffers from a case of split personality.
  27. Year of the Dog
    The ironic, cheery-bland tone, the two-dimensional characters and episodic structure, say "comedy," while the events in the script say "bipolar depression."
  28. Batman Begins
    All of the story is so absurdly humourless that it is dramatically inert, as if Nolan had decided the only way to make the Batman character more substantial was to put weights on his wings.
  29. The Last Circus
    The Last Circus is a bizarre, surreal, grotesque, fascinating, demanding, disappointing and ultimately exhausting political allegory that plays like a waking nightmare.
  30. Never Steady, Never Still
    The hardship of it is immediate, but it never feels forced or exploitative. Hepburn cares for her characters too much to force matters in such a way
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