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 Cat in the Hat
    A semi-intriguing abomination, the movie The Cat in the Hat takes a piece of classic childhood Americana and turns it into something garish, dumb, ugly and senseless.
  2. Gothika
    There must be something about the thriller/horror genre that attracts writers with exactly the same dysfunctional tendencies: They're all great at the foreplay but keep on messing up the climax.
  3. The Barbarian Invasions
    As a film about intellectuals, The Barbarian Invasions can sometimes seem maddeningly scattered and contradictory.
  4. The Missing
    It might better be titled The Awkward.
  5. Master and Commander: The Far Side of the World
    In this journey, [Crowe] wears the uniform, the accent and the derring-do with consummate panache. Have him strike a muscular pose on the ship's prow, which Weir does more than once, and the manly sight puts that wussy DiCaprio to titanic shame.
  6. Tupac: Resurrection
    It borders on deification. Yet Tupac: Resurrection is still a strong film, with some genuinely revealing insights into the life of its charismatic and paradoxical subject.
  7. Hukkle
    Unclassifiable and wildly original, it is almost wordless but teeming with sound.
  8. My Architect
    A twofold story of heroic achievements and personal failings.
  9. Elf
    Elf is jolly but could have been jollier, funny but could have been funnier, charming but ... well, point made.
  10. Love Actually
    Overall, it pushes its "love is good" message with such insistence, so many cheery pop tunes, airport hugs, coincidences and teary smiles, that it feels like one long commercial. Surely love is a desirable enough commodity that it doesn't require such a hard sell.
  11. Hidden in Plain Sight
    The producers of Hidden in Plain Sight decided that they couldn't deal with Sept. 11 in the film without losing focus on its principal subject. The result is that the film stands as a testimonial to the world as it existed before that date, a world very different from the one we now live in.
  12. The Matrix Revolutions
    Mostly feels as hackneyed as the first film felt fresh. It's a loud, puffed-up exercise in computer-generated heroics and battles that follows a pattern.
  13. Shattered Glass
    The makers of Shattered Glass ignore this obvious give-and-take reality, and substitute the hoary myth that, save for the odd lying devil, the free press is a bastion of the gospel truth. Even here, then, the facts get shaped to fit the theme. Ironically, had they not, it would have made for a helluva better story.
  14. Beyond Borders
    The mould for all these stories of hot lust and burning cities, creamy-skinned rich girls and their bitter lovers is that grand and grotesque cinema monument, was "Gone With the Wind." You can't go there again and you shouldn't want to.
  15. Radio
    A feel-good flick that doesn't make you feel too bad -- in this genre, that almost qualifies as a ringing endorsement.
    • 49 Metascore
    • 50 Critic Score
    Scary Movie 3
    The decision to overhaul the Scary Movie franchise by sending up such non-horror titles as "8 Mile" and "The Matrix Reloaded" also pays dividends.
  17. Brother Bear
    The oddest movie to come out of Disney since Herbie ran out of gas in Monte Carlo, Brother Bear is a cartoon about a boy who becomes a man by learning how to be a bear.
  18. Elephant
    Is it, the debate asks, a truly substantial work or just a stylish cop-out? Well, for once, I'm voting with the French.
  19. The Singing Detective
    At one point, Downey's character is asked, "What are you gonna do with all this rage, this hate?" and he snaps back, "I'll probably just write serious literature." On TV, where the material seemed both serious and literate, that bit of black humour felt prophetic. On film, it's just a good joke.
  20. In the Cut
    More ambitious, but also much harder to swallow than the average Hollywood hack effort, In the Cut is a muddle of thriller and art-house phantasmagoria.
  21. The Texas Chainsaw Massacre
    Gruesome enough; what it lacks is a distinctive revolting personality of its own.
  22. Runaway Jury
    Does not disappoint expectations: This is not a case of dumbing down literature; it's mediocrity aimed for and successfully achieved.
  23. Pieces of April
    The restraint and wit Hedges and his cast display in putting together Pieces of April pay off in the film's brightly organized, deeply satisfying conclusion.
  24. Sylvia
    Sylvia the movie competently shows us how; but, as always, it's Sylvia the writer who brilliantly tells us why -- then, now and tomorrow, her foreboding words are her finest legacy.
  25. Veronica Guerin
    Speaking of that deadly finale, it's easily the best part of the picture. Beautifully edited, shot in fluid slow-motion, scored to a traditional Irish ballad crooned in a child's tremulous voice, the violence of the climax is anthemic. The whole sequence is undeniably moving.
  26. Good Boy!
    In the right hands, Good Boy! might have been a ripe bit of mischief. But except for an endless drum roll of fart jokes, what we get is stuffy liberal humanism that would bore the Oshkoshes off Al Gore's littlest nieces and nephews.
  27. Intolerable Cruelty
    Mostly, it's a Coen brothers movie so slick, so careful in rationing its darkly perverse and personal elements, that it seems suspiciously sweet. Intolerable Cruelty feels like the Coens' peculiar new way of being cynical, by pretending they're not.
  28. Kill Bill: Vol. 1
    Simultaneously a spectacular act of movie-making and a slight movie. Or is that impossible: When the means are so gloriously abundant, can the end ever be merely trivial?
  29. House of the Dead
    Somewhere between cartoonishly bad for comic effect and bad because the filmmakers didn't really give a damn, The House of the Dead is, at least, unpretentiously dumb.
  30. Dopamine
    A determined romantic comedy with a theme, and damned if it won't see it through.
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