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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    • 63 Metascore
    • 63 Critic Score
    Eating
    It's hard to say how much the talking-head segments are based on the actors' real-life eating experiences, but they save the film by displaying a depth of emotion, candour and ironic good humour that - unlike many of the scenes in Eating - appears to be genuinely felt. [12 Jul 1991]
    • The Globe and Mail (Toronto)
  2. Mr. & Mrs. Bridge
    Cerebral without being dry, delicate without being dull, Mr. And Mrs. Bridge is a rarity: a drama of manners that breathes esthetic life into airless parlours, without either sentimentalizing the occupants or hyping the atmosphere. [21 Dec 1980]
    • The Globe and Mail (Toronto)
  3. Predator 2
    Predator 2, an alien-monster movie that is racist and violent, not to mention atrociously acted and ham-handedly directed, has everything going for it a bad movie needs to be dismissed with a quip. But this is too ugly to be funny about. [23 Nov 1990]
    • The Globe and Mail (Toronto)
  4. 3 Men and a Little Lady
    The follow-up to Three Men and a Baby offers more of the same. Mixed in among the cliches and stereotypes, there's a genial chuckle or two to be found Laughs that are strictly low-cal. [24 Nov 1990]
    • The Globe and Mail (Toronto)
  5. Rocky V
    Rocky V, for all its faults, is not awful. It is inferior to the charmingly naive, Cinderella-in-sweat-pants opener of 14 years ago, but it's far superior to every other overdetermined installment. [21 Nov 1990, p.C1]
    • The Globe and Mail (Toronto)
  6. The Rescuers Down Under
    Seen from any chronological vantage, this isn't a superior flick - think of it more as great radio with average pictures. [16 Nov 1990]
    • The Globe and Mail (Toronto)
  7. Dances with Wolves
    The treatment of the Sioux is not only sympathetic, it's ethnographically exact. Neither Noble Savages nor Red Injuns, the natives in Dances With Wolves are differentiated human beings about to undergo cultural genocide.
  8. The Krays
    Piously posing as providing a public service, The Krays is little more than an artsy simulacrum of America's Most Wanted. [25 Jan 1991]
    • The Globe and Mail (Toronto)
  9. Child's Play 2
    His first visit was bad, this is worse. [09 Nov 1990]
    • The Globe and Mail (Toronto)
  10. Jacob's Ladder
    Jacob's Ladder is a cheat - but a talented, disturbing, beguiling cheat. We don't know we've been truly had until it's finally over, when the screen fades and the lights rise and we wake up with a start, deliciously unnerved. [2 Nov 1990, p.D3]
    • The Globe and Mail (Toronto)
  11. Vincent & Theo
    For all its merits - a lush canvas, a first-rate cast, a thoughtful director examining a theme directly relevant to his own checkered career - Vincent & Theo doesn't quite measure up. [16 Nov 1990]
    • The Globe and Mail (Toronto)
    • 54 Metascore
    • 63 Critic Score
    Night of the Living Dead
    Savini seems to lose his grip in the second half, and what began as exhilaratingly horrendous settles into comfortable predictability. [24 Oct 1990]
    • The Globe and Mail (Toronto)
  13. White Palace
    White Palace starts out raw and realistic, fraught with danger, but soon metamorphoses into a soft and sugary romance. A gulp of vinegar and a Kool-Aid chaser. [19 Oct 1990]
    • The Globe and Mail (Toronto)
  14. Avalon
    Despite some fine performances, what should be a crystalline epic is a sloppy and sentimental tale of family life. Sterling performances in a leaden script. [05 Oct 1990]
    • The Globe and Mail (Toronto)
  15. Reversal of Fortune
    Mesmerizing.
  16. Welcome Home, Roxy Carmichael
    Major surgery has been known to take less time and give more pleasure than this forgettable flick. [13 Oct 1990]
    • The Globe and Mail (Toronto)
  17. Memphis Belle
    Humanistic and anti-war, Memphis Belle is predictably uplifting, as is the wont of producer Puttnam, but not at the expense of good sense. These were fine kids, this exciting and intelligent film says, and it wasn't their fault society couldn't find anything better for them to do than kill or be killed. Memphis Belle is a dance of life tapped out on a tombstone. [12 Oct 1990]
    • The Globe and Mail (Toronto)
  18. Mr. Destiny
    Mr. Destiny is a sedated puppy of a movie - meant to be all warm and cuddly, it just lies there like a furry lump, waiting for an invigorating spark that never comes. You almost feel sorry for the inert thing - it wants so much to be loved, and does so little to earn it. [16 Oct 1990]
    • The Globe and Mail (Toronto)
  19. Miller's Crossing
    A masterpiece, but of a unique kind... A gorgeously filmed, supremely well-acted, intricately written film noir about now.
  20. Henry & June
    Henry & June, a portrait of two pioneers in prose, accomplishes its own kind of pioneering on screen and not merely because it's unapologetically erotic: it effortlessly pairs that oddest of all couples, sexual desire and cerebral activity. It is, as a friend commented in a phrase Nin and Miller would have loved, "an erection for the mind." [05 Oct 1990]
    • The Globe and Mail (Toronto)
  21. King of New York
    That's the allure of the genre. Succeed, and you're artful, thoughtful, and popular all at the same time. But fail, and you're the King of New York. As failures go, this is typical enough, smugly dividing the world into good gangsters and bad ones. [9 Nov 1990]
    • The Globe and Mail (Toronto)
  22. Pacific Heights
    A movie that tries to do to real estate what Fatal Attraction did to adultery. It fails - the script isn't half as convincing or the suspense nearly as taut, but the aim is the same. [28 Sept 1990]
    • The Globe and Mail (Toronto)
  23. Narrow Margin
    Watching a merely adequate thriller is like eating an ungarnished hot dog - it goes down all right, but where's the spice and what's the point? Narrow Margin combines a solid cast with workmanlike direction and a decent if undistinguished script. Add it up and...you guessed it...all dog and no garnish. [24 Sep 1990]
    • The Globe and Mail (Toronto)
  24. State of Grace
    Things you will not find in State Of Grace: a script that makes a modicum of psychological sense; a performance that isn't either desperately overwrought or numbly underplayed; and anything resembling grace. [18 Sep 1990]
    • The Globe and Mail (Toronto)
  25. White Hunter Black Heart
    White Hunter, Black Heart is a beautifully made elaboration of a thesis that has thankfully lost its antithesis to time. [15 Sep 1990]
    • The Globe and Mail (Toronto)
  26. Hardware
    To his credit, writer-director Richard Stanley, a South African native now living in England, brings his own bloody specialties to the banquet, and Hardware, although neither original nor especially thought-provoking, does serve its intended purpose by sending the hungry horror film fan away from the table satiated and nauseated. Compliments to the chefs. [12 Oct 1990]
    • The Globe and Mail (Toronto)
  27. Postcards from the Edge
    Postcards From The Edge, is long on witty one-liners but woefully short on coherent structure. [13 Sep 1990, p.C5]
    • The Globe and Mail (Toronto)
  28. Goodfellas
    No so-called serious gangster film has ever been more fun, or less dangerous, or more intrinsically feminist, than GoodFellas. Even "I Married the Mob" was scarier.
    • 82 Metascore
    • 63 Critic Score
    The Killer
    The Killer goes on too long and never properly stitches together into the plot its strands of suspense and romance, but it never lacks for ballistic racket. A few scenes in recent movies have seen the firepower under which that whitewashed church disintegrates at movie's end; a few, but not many. [12 July 1991]
    • The Globe and Mail (Toronto)
  30. Darkman
    There are lively, compelling scenes, particularly in the first hour - Raimi has an indubitable talent for camp mayhem - but the picture escalates into absurdity and the last half hour, essentially a chase sequence, is marred by suprisingly cheesy special effects. [24 Aug. 1990]
    • The Globe and Mail (Toronto)
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