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. Running on Empty
    Although Lumet has a reputation for letting his actors run wild, he keeps the reins tight here, and we're rewarded with a series of superb performances. [16 Sep 1988]
    • The Globe and Mail (Toronto)
  2. Over the Edge
    Over The Edge is a good, dangerous film, and it's good in part because it is dangerous - it puts you in touch with these kids' frustrations, and it allows you to feel the relief an explosion brings. [25 June 1982]
    • The Globe and Mail (Toronto)
  3. Nocturnal Animals
    When you combine the megawattage of Gyllenhaal and Adams with Ford’s directorial … well, “prowess” would be too strong a word, so let’s go with “vision.” So, when you combine those two actors with Ford’s vision, what you get is a ridiculous, high-camp mess that could easily be mistaken for substance, if it weren’t so irredeemably silly.
  4. Framing John DeLorean
    Framing John DeLorean is a film that delights in stretching the truth, so maybe its constant ignorance of Hamm’s work is just part of its whole meta-narrative shtick.
  5. Bolt
    Both original and good; the problem is the original parts aren't good and the good parts aren't original.
  6. T2 Trainspotting
    The lads from Edinburgh thrive in chaos and, for all their new-found maturity, they are still at their best when in full flight from both responsibility and time.
  7. This Is the End
    There are a few laughs at the start of This Is the End, and a couple more at the end of This is the End. As for the endless middle, it’s middling.
  8. The Door in the Floor
    Single-handedly, Bridges gives the film what it otherwise lacks -- energy and emotion invested in this damaged man, naked beneath his ballooning caftan, at once sadly ridiculous and ridiculously sad.
  9. Sound of My Voice
    The star of Sound of My Voice is co-screenwriter, female lead Brit Marling, who plays Maggie with melancholy, amusement and scorn. Compulsively watchable, she can change who we think she is by simply turning her face. In profile, she's Vanessa Redgrave. Laughing, she becomes Debbie Reynolds. Marling might become a great character actress. Let's hope the movies use her well.
  10. Fatal Attraction
    Fatal Attraction becomes as seductive as the seduction it depicts. In the always stylish, sometimes careless hands of director Adrian Lyne, the film lures us in with an artful blend of stately pacing and caressing close-ups and brooding silences. [23 Sep 1987 p.C7]
    • The Globe and Mail (Toronto)
  11. Fahrenheit 9/11
    Aesthetically, this isn't a great documentary, although, during the first half, there are great moments in it. But the latter part is scattered and frenzied, rather like an excited dog tearing off after too many rabbits at once -- a thematic hunt that's all chase and scant context.
  12. Mondovino
    A sprawling personal journey, filled with an array of fascinating characters, through the world of wine.
  13. Die Hard 2
    The deployment of the hardware may be extraordinary, but it doesn't overshadow the human dimension of this summer sequel. [4 July 1990]
    • The Globe and Mail (Toronto)
  14. Blaze
    If Blaze is not historically or psychologically reliable, it is a reliable good time. This is a meaningless movie, but there's no arguing with Ron Shelton's skills as a frothy screwball romantic: in Blaze, nobody gets burned. [14 Dec 1989]
    • The Globe and Mail (Toronto)
    • 67 Metascore
    • 63 Critic Score
    The China Hustle
    In horror movies, monsters often lose their power to terrify once they come fully into the frame. But as Rothstein reveals the full shape and size of an ogre that has slipped into our financial markets, just try to calm your growing dread.
  16. Halloween
    It's fierce, it's lean, it's mean, and it has at least three first-pumping "Hell, yeah!" moments.
  17. Synecdoche, New York
    Here, there's not much that's funny, there's too much that's too clever by half, and there's not a damn thing that's lively - this is a film about Life whose sin is its lifelessness.
  18. Edge of Seventeen
    Edge of Seventeen is a gentle American coming-out and coming-of-age story set in 1984 in Sadusky, Ohio, and suffers slightly from a sugary after-school-special approach to its subject matter. [02 Jul 1999, p.C5]
    • The Globe and Mail (Toronto)
    • 67 Metascore
    • 88 Critic Score
    Kite
    The film is just shy of being overstylized by Bhargava's habit of deftly bringing our attention back to the family and their subtle mannerisms amid the chaotic activity around them. The always wonderful Seema Biswas co-stars as the business man's calm sister-in-law.
  20. Charlie Wilson's War
    Takes a kernel of truth and roasts it into a popcorn movie. There's terrific fun to be had, and much wry comedy too. What's missing, surprisingly given the subject matter, is any real sense of gravity.
  21. The Stanford Prison Experiment
    The acting is uniformly strong and the camera work is winningly claustrophobic, but the film is one note.
  22. The Little Stranger
    Gleeson and Wilson deliver tightly-wound performances, while the ending is more chilling, and perhaps perplexing, than audiences might expect.
  23. The Ambassador
    The Ambassador may be an important, even necessary film; just don't expect to find it enjoyable.
  24. The Idea of You
    Whenever the camera is on Hathaway, which is almost always, the film feels a hundred times more rich and substantive.
  25. Fear Street Part One: 1994
    While Janiak is able to easily tick off the hallmarks of the genre, and perhaps convince those actually alive in the nineties that the entire decade must have been backlit in aggressive neon, her film doesn’t quite scream (or Scream) out for two more films’ worth of context.
  26. A Private Life
    Foster is, as always, exceptionally compelling to watch as she tries to puzzle out Lilian’s motivations. And the actress is surrounded by France’s finest men of a certain age. Auteuil, Amalric and Vincent Lacoste do their due diligence as performers, even when Zlotowski’s screenplay asks them to abandon all pretenses of rationality.
  27. Sammy and Rosie Get Laid
    Sammy and Rosie is not only the best British film of the year, it's one of the best films of the year from any country, period, a raucously erotic dirge belted into the gaping mouth of a tomb. [30 Oct 1987]
    • The Globe and Mail (Toronto)
  28. The Last Duel
    By the time Marguerite’s chapter concludes, laying bare the wrenching source of the story’s tensions, The Last Duel will have you in the palm of its calloused hand, whether you like it or not. It is as ambitious and memorable and impressively messy a storytelling experiment as major-studio films come these days.
  29. My Bodyguard
    In My Bodyguard the warfare is entirely internecine, and the movie, for all its shortcomings, is an exceptionally perceptive (and funny) study of the terror that can be visited upon an innocent victim. [23 Aug 1980]
    • The Globe and Mail (Toronto)
  30. 2 Days in Paris
    Although she lets her flair for creating funny, sharply written, quirky scenes consume her feature directorial debut, her use of family, friends and even an ex (Goldberg) in 2 Days In Paris, gives the film a wonderfully natural, comfy feel.
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