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. Days of Glory
    In recounting this conflicted tale, director Rachid Bouchareb displays some valour of his own, resisting what must have been a strong temptation to deal in aggrieved agitprop, and instead, quietly but powerfully, confining his attentions to a small group of indigenous soldiers.
  2. Inland Empire
    By the time Inland Empire, David Lynch's three-hour digital epic shot on a home video camera, takes you through its tour of the contents of the director's febrile imagination, it's probably the bunnies you'll most remember.
  3. The Nativity Story
    Don't expect a Caravaggio, but if your taste turns to Hallmark, this is a good bet -- a straight-up Nativity story as safe as death and taxes.
  4. The Lives of Others
    A movie that combines the Cold War intrigue of John Le Carré with the wired buzz of Francis Ford Coppola's "The Conversation" -- one of those rare two-hour-plus pictures that runs long but plays bracingly, excitingly short.
  5. Turistas
    There are a couple of minutes of unscheduled surgery to put this in the sadistic fantasy genre of "Saw" and "Hostel," but mostly the movie plays out like a cheap survivalist copy of the television series "Lost."
  6. The Fountain
    A meditation of life, death, reincarnation and biblical symbolism that feels peculiarly like a head-shop poster, blown up to feature-movie size.
  7. Deck the Halls
    Isn't exactly what you'd call fresh. But although it borrows ingredients from many familiar Christmas flicks, it's got a sly twinkle of its own.
  8. Deja Vu
    Definition of redundant: A formulaic Hollywood pic that calls itself Déjà Vu.
  9. Tenacious D in The Pick of Destiny
    As it exists, Tenacious D in the Pick of Destiny is strictly for the tenaciously devoted.
  10. The History Boys
    This is a piece engineered to run on the high octane of clever dialogue. It's chatty, it's wordy, but a passion for the well-written word lies at the thematic heart of the thing, and cinematic flourishes would only clog the arteries. Purists can rest assured -- there's no clogging.
  11. Casino Royale
    The payoff is the revitalization of Bond by making him closer to what Fleming envisaged: a sociopath who, fortunately, is on our side.
  12. Let's Go to Prison
    It makes "Little Man," "Scary Movie 3" and "Beerfest" look like comic masterpieces.
    • 64 Metascore
    • 50 Critic Score
    Fast Food Nation
    A frustratingly toothless film whose heart is in the right place even if its head isn't.
  14. For Your Consideration
    The target is way too easy and the tone far too smug. This time, they're shooting fish in a barrel with a bazooka and congratulating themselves on their marksmanship.
  15. Bobby
    Fascinating, even when it's fascinatingly bad.
  16. The Aura
    Its rhythm is deliberate and unhurried, yet the film is rich with detail and with small, meaningful character revelations -- the running time of more than two hours feels just right.
  17. A Good Year
    Fans of both Ridley Scott and Russell Crowe should not be too bummed with the mild sedative that is A Good Year.
  18. Harsh Times
    Harsh Times opens with a deadly nightmare and ends with a vast bloodbath -- in between, things get a little gruesome.
    • 38 Metascore
    • 38 Critic Score
    The Return
    Sarah Michelle Gellar is not faring well as a horror-movie scream queen. Gone are the attitude, wit and verve she used to routinely display in the title role of TV's "Buffy the Vampire Slayer."
  20. Stranger Than Fiction
    With a track record that stretches from "Monster's Ball" all the way to "Finding Neverland," Forster is clearly a director at ease with a wide range of material. He's found confection-land here, setting his beater on ready-whip and mixing the dough just fine.
  21. Iraq in Fragments
    Iraq in Fragments already stands up as a classic war documentary, in its unusual poetic form and by its extraordinary access to the lives of ordinary Iraqis.
  22. Fur: An Imaginary Portrait of Diane Arbus
    Fur does what an Arbus photograph never would -- it leaves no room to imagine and removes any reason for doubt.
  23. Fuck
    In the end, F*CK is at most a compendium of opinions and examples, and never feels like a story. Still, great casting and inventive visuals make it an entertaining big-screen experience -- and don't expect to catch it later on network television (otherwise it would have to be retitled BL**P).
  24. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
    Borat at its best is pure satiric genius, the Swiftian kind that has you busting a gut with laughter even while checking your conscience for implicating flaws.
  25. Flushed Away
    This is a sewer blessedly free of actual sewage, which makes Flushed Away more kid-friendly than, say, the average "South Park" episode.
  26. The Santa Clause 3: The Escape Clause
    The Santa Clause 3 is a colourful jumble. (But quite a bit better than Jungle 2 Jungle). Nevertheless, whether parent or elf, You might laugh when you watch it in spite of yourself.
  27. Volver
    As down-to-earth as a ghost story gets.
  28. Catch a Fire
    Catch a Fire paints the period with a double-sided brush that gives yesterday its due and puts today on notice.
    • 48 Metascore
    • 50 Critic Score
    Saw III
    The presence of some genuine feeling distinguishes Saw III from its predecessors. That said, it has plenty of the blood, torture and dismemberment that moviegoers demand from their Halloween weekend entertainment.
  30. Babel
    Though Babel lacks any tragic sense of inevitability, it almost compensates with a handful of vibrant performances and the palpable physical texture of the settings.
    • The Globe and Mail (Toronto)
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