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. Valkyrie
    The result is a fairly co-ordinated effort that, despite a few miscues, yields a consistently watchable film.
  2. Waltz with Bashir
    Profound, and profoundly affecting.
  3. The Tale of Despereaux
    The movie is a freakish creature, with lush, painterly animation inspired by Dutch and Flemish masters, attached to a convoluted, gloomy narrative punctuated with scenes of sadism that rival "The Dark Knight."
  4. Yes Man
    Yes Man puts him back in the same old quandary and, once again, Carrey lacks an identity. Alas, this time, he also lacks a script.
  5. The Class
    The Class is simultaneously old school and new, familiar in its themes but unique in design and, at its best, riveting in execution.
  6. Seven Pounds
    There's a head-pounding, gob-smacking literalness to this flick, extending from the title right through to the recurring imagery.
  7. The Wrestler
    The excesses are easy to forgive, both for the humour and charisma of Rourke's outsized performance and Aronofsky's canny low-key direction, which make for a combination that is irresistible.
  8. The Day the Earth Stood Still
    As a message movie, it's preachy without being serious; for an action movie, there's a lot of racket but not much fun.
  9. Delgo
    Delgo is blocky and hastily coloured in. Characters are stiff; there is little variety in movement. It's a cheapo product ideally suited for a Saturday-morning pyjama vigil in front of a small screen. And the film suffers from a poverty of imagination to boot.
  10. Doubt
    This movie sticks.
  11. 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.
  12. Nothing Like the Holidays
    Most of the cast range from tolerable to appealing (especially Molina and Pena), with a conspicuous exception. Debra Messing, as the career-driven outsider, is consistently stilted.
  13. The Reader
    So why, despite everyone's best efforts, does all this bigness seem so small and unfocused and simply not up to the task?
  14. Wendy and Lucy
    This is where the movie excels. In the classic neo-realist tradition, it's scant in plot yet rich in mood and character, offering us a revealing hint here, a poignant glimpse there, with each revelation filtered through Michelle Williams's superbly muted performance, all the more moving for being so restrained.
  15. Frost/Nixon
    Shakespeare would have delighted in the chapter, especially in the antagonist, but not at the expense of the longer and darker and still-unfinished book.
  16. Cadillac Records
    Anyone who likes pop music or wonders how bands like the Rolling Stones got rolling will enjoy the ride.
  17. Hunger
    Hunger -- the disturbing, provocative, brilliant feature debut from British director Steve McQueen -- does for modern film what Caravaggio did to Renaissance painting.
  18. Nobel Son
    The movie is so relentlessly self-congratulatory, you can't help becoming thoroughly sick of it.
  19. Transporter 3
    If you're going to a no-frills action film, though, at least you want the action to be entertaining, which is where Transporter 3 falls down.
  20. Milk
    A worthy docudrama that is solid if not sublime. But, sometimes, a merely good film can brush up against greatness, and this one does so twice – in Sean Penn's magnetic performance and in the cautionary tale's contemporary resonance.
  21. Bolt
    Both original and good; the problem is the original parts aren't good and the good parts aren't original.
  22. Twilight
    Sometimes sensitive and often silly but really, essentially, beneath his pallor and her panting and their intertwined frustrations, it's just two long hours of coitus interruptus.
  23. Australia
    All in all, Australia is so damnably eager to please that it feels like being pinned down by a giant overfriendly dingo and having your face licked for about three hours: theoretically endearing but, honestly, kind of gross.
  24. Quantum of Solace
    A sequel that immediately picks up the plot of its predecessor, and then proceeds to drive the redeemed franchise right off the deep, dark end.
  25. A Christmas Tale
    It sure ain't the Christmas of Dickens's imaginings. Dysfunctional overachievers all, the Vuillards are a family bizarre enough to make the Royal Tenenbaums look like candidates for a Hallmark card.
  26. Slumdog Millionaire
    The story may stretch credibility until it's ready to pop its seams, but Patel conveys the simple confidence of a prodigy who has learned everything important in life, except how to lie.
  27. Role Models
    By the time the film reaches its big mushy climax, in which the slackers discover their inner caring during a dopey medieval role-playing battle, the movie starts to feel something like a pleasure again.
  28. JCVD
    Unlike "Being John Malkovich," which JCVD sometimes resembles, there is no secret portal to the star's head; instead, the audience gets a fleeting glimpse through the smeared window of his soul.
  29. The Boy in the Striped Pajamas
    The result isn't meant to be an historical document transmuted into fiction; instead, it's fiction turned into a fable, a dark fable.
  30. Madagascar: Escape 2 Africa
    The rare sequel that is better than the original.
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