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 3.1 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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    • 48 Metascore
    • 50 Critic Score
    Switch
    Blake Edwards' latest comedy about a man who comes back in a woman's body has some laughs, but it lacks his usual style, wit and humanity. Switch suffers from glitch. [16 May 1991]
    • The Globe and Mail (Toronto)
    • 46 Metascore
    • 38 Critic Score
    Toy Soldiers
    If the viewer squirms with embarrassment, it's not over how Petrie has directed his camera or his excellent young cast - it's his heavy-handed material that's beyond redemption, and since he co-wrote that material he has a lot to answer for. [26 Apr 1991]
    • The Globe and Mail (Toronto)
  3. A Kiss Before Dying
    Even the neatness here is borrowed. A Kiss Before Dying isn't a remake; it's a rehash. [27 Apr 1991]
    • The Globe and Mail (Toronto)
  4. Oscar
    After years of inadvertently making us laugh, Sylvester Stallone actually does a picture designed to be funny. It isn't, not very, but, yo, give the man credit for going with the flow. [01 May 1991]
    • The Globe and Mail (Toronto)
  5. Mortal Thoughts
    Despite the efforts of the talented director, Alan Rudolph (The Moderns, Choose Me), and his experienced cast, Mortal Thoughts is a formulaic TV-sized feature conceived to cash in, and put a feminist spin on, some of the emotions stirred up by Fatal Attraction; unfortunately, it seldom gets intense enough to stir up any emotion. [19 Apr 1991]
    • The Globe and Mail (Toronto)
    • 67 Metascore
    • 75 Critic Score
    Poison
    Poison, low-budget but with all-human actors, is dark and funny and has something very powerful to say about society and how it applies irrational stigmas to those who do not conform to an often arbitrary status quo. [12 July 1991]
    • The Globe and Mail (Toronto)
  7. The Comfort of Strangers
    This picture will linger, stuck in those corners of the mind you may not care to visit, where the stranger you meet lies in the bed beside you, or stares back from the mirror before you, and where the comfort offered is nothing but cold. [14 June 1991]
    • The Globe and Mail (Toronto)
  8. Career Opportunities
    It's so much like Home Alone, it's the unofficial sequel, Home Alone II: Out on His Own. Career Opportunities shows us what happens when the Macaulay Culkin character grows up. It's not a pretty sight. [1 Apr 1991]
    • The Globe and Mail (Toronto)
  9. Class Action
    It's an undemanding yet bright delight. [16 Mar 1991]
    • The Globe and Mail (Toronto)
  10. Guilty by Suspicion
    Guilty by Suspicion is a morality play innocent of moralism and manipulation. It's what almost nobody thinks Hollywood is: decent. [15 Mar 1991]
    • The Globe and Mail (Toronto)
  11. True Colors
    Strip away the transparent moral shading, erase the buddy-picture twist, and True Colors is nothing more than a watered-down mix of Wall Street and The Candidate, a sentimental variation on a sentimental model. [15 Mar 1991]
    • The Globe and Mail (Toronto)
  12. La Femme Nikita
    Always stylish and occasionally thrilling and never thoughtful.
  13. The Doors
    The Doors is excessive, unsubtle, emotionally brutal and stylistically sadistic, but that's exactly right for the dark side of the sixties Morrison and his band embodied. [01 Mar 1991]
    • The Globe and Mail (Toronto)
  14. Cadence
    The cast, including the Sheen clan, brings more grace to this material than it deserves, but that only seems to highlight the problem - it's like putting leather-binding on a Hubert Humphrey monologue. [22 Mar 1991]
    • The Globe and Mail (Toronto)
  15. The Silence of the Lambs
    The plot is squeezed dry in this bloody Valentine from Hollywood and becomes annoyingly predictable. Thriller stumbles on its own success
  16. Sleeping with the Enemy
    Varying the pace, altering the tone, Ruben definitely keeps us off balance. Not as good as it could be, a far sight better than it might have been, this is a movie that puts the lie to the computer's stern dictum: garbage in, passable entertainment out. [08 Feb 1991]
    • The Globe and Mail (Toronto)
  17. Hamlet
    The cinematic strategies are energetic without being vulgar, the words are plain-spoken, and moony Mel's melancholy is what matinee idols are made of. [18 Jan 1991]
    • The Globe and Mail (Toronto)
  18. White Fang
    Housebroken and prettified, this boxed version of White Fang comes ready for prime-time - safe enough for the living room, docile enough for the couch. But don't let your guard down: it just might gum you to sleep. [25 Jan 1991]
    • The Globe and Mail (Toronto)
  19. Green Card
    Like Pretty Woman, Green Card doesn't aim high - comedy, sentimentality, sex and pathos are sufficient for its scheme of fantasy things - but with the exception of MacDowell, it achieves its modest aims unerringly. [11 Jan 1991, p.C1]
    • The Globe and Mail (Toronto)
  20. The Godfather: Part III
    More than merely another bad movie, it's the most depressing development yet in Coppola's career. It's a would-be cash cow bred cynically to excrete money, the arty answer to "Child's Play 2" or "Back to the Future III."
  21. Alice
    Alice Tate seems at first to be no more than a grimly sweet nothing, but she evolves into a giddily sweet something. So does her movie. [25 Jan 1991]
    • The Globe and Mail (Toronto)
  22. Kindergarten Cop
    Kindergarten Cop is fast, loud and obvious, but there are unexpectedly delicate touches. [21 Dec 1990, p.C10]
    • The Globe and Mail (Toronto)
  23. The Long Walk Home
    Funny, heartbreaking and, yes, uplifting, The Long Walk Home takes the audience into a past that is always threatening to become the present; that it was made makes the future seem a little less threatening. [09 Feb 1991]
    • The Globe and Mail (Toronto)
  24. The Russia House
    Fred Schepisi's sensuously staged film version of John le Carre's spy thriller, is energetic but thoughtful, a virtually perfect adapatation of a virtually perfect novel. [18 Dec 1990]
    • The Globe and Mail (Toronto)
  25. Awakenings
    Marshall elicits performances from Williams and De Niro that are exceptional. Awakenings is a small, simple movie about a large, complex issue, the waste of human opportunity. [19 Dec 1990, p.C1]
    • The Globe and Mail (Toronto)
  26. Mermaids
    It's undemanding good fun, even when the script turns sentimental. [14 Dec 1990]
    • The Globe and Mail (Toronto)
  27. Edward Scissorhands
    A classic... Edward Scissorhands is a sharp salute to the oddball in all of us.
  28. The Grifters
    Indeed, as the film unreels to its extraordinary climax - a scene that will make your skin crawl - Frears has the larger target right in his sights and, bang, pulls the thematic trigger, taking no prisoners.
  29. Cyrano de Bergerac
    Cyrano De Bergerac, the latest cinematic adaptation of the Edmond Rostand classic, is a lavishly appointed film, a decidedly handsome film, a film that wears its money on its sleeve, a film whose beauty is skin deep. The movie always moves, but it's never moving. [30 Nov 1990]
    • The Globe and Mail (Toronto)
  30. Misery
    It does what it desires to do - it suspensefully squeezes the sweat out of the pores - but the salty stench it leaves behind in the persona of Annie Wilkes is a residue that transcends its intentions. [30 Nov 1990]
    • The Globe and Mail (Toronto)
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