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 2.9 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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    • 83 Metascore
    • 88 Critic Score
    The Naked Kiss
    Something amazing happens in it just about every 90 seconds: From one moment to the next you have no idea where the director is going. It's as if the screen has been hard-wired directly to Fuller's id. [13 Mar 1998]
    • The Globe and Mail (Toronto)
  2. Tom Jones
    With its wit, speed and bawdiness, it revolutionized screen comedy and influenced directors from Richard Lester to Francis Coppola. [05 Jan 1990]
    • The Globe and Mail (Toronto)
  3. The Manchurian Candidate
    This is an oddball classic that leaves you weak with pleasure. [11 Mar 1988]
    • The Globe and Mail (Toronto)
  4. Through a Glass Darkly
    A former mental patient and her family spend a summer on an isolated island, in a classic Bergman portrait where family dysfunction and existential terror meet. [31 Jul 2007, p.R1]
    • The Globe and Mail (Toronto)
  5. Paris Blues
    The movie has a great Duke Ellington score, and director Martin Ritt tries for a Beat sensibility that's not authentic, but is acceptable. [30 Dec 1995]
    • The Globe and Mail (Toronto)
    • 75 Metascore
    • 75 Critic Score
    The Absent Minded Professor
    The Absent-Minded Professor, from 1961, starred the late Fred MacMurray in one of his best-remembered comic roles, as a scientist named Brainerd who discovers a substance he dubs "flubber" (for "flying rubber," since it enables people and objects to fly). [08 Jan 1993]
    • The Globe and Mail (Toronto)
    • 61 Metascore
    • 75 Critic Score
    Bells Are Ringing
    Adolph Green always said that they based the warm, maternal and loyal main character on Holliday herself; perhaps that's why she manages to more than save it, she makes it very worthwhile to watch. [21 Jul 1990]
    • The Globe and Mail (Toronto)
    • 88 Metascore
    • 100 Critic Score
    The Seventh Seal
    Established Bergman as a director of arresting visual and intellectual power. [6 March 1993]
    • The Globe and Mail (Toronto)
  9. Baby Doll
    It still stands up as astonishingly sleazy entertainment. [15 Jun 2002, p.R1]
    • The Globe and Mail (Toronto)
  10. To Catch a Thief
    Very light-hearted and glamorous. [09 Nov 2002, p.R24]
    • The Globe and Mail (Toronto)
    • 93 Metascore
    • 88 Critic Score
    The Band Wagon
    Great describes The Band Wagon, which followed Singin' in the Rain by a year and has similar fun satirizing the excesses of show business. [18 Mar 2005, p.R33]
    • The Globe and Mail (Toronto)
    • 73 Metascore
    • 75 Critic Score
    Room for One More
    A sweet if predictable tale about teaching and learning and parents and kids, it's all made easier on the eyes by Grant, whose trademark suaveness never allows him to quite slip into the role of bedraggled father of five. [19 Nov 2005, p.9]
    • The Globe and Mail (Toronto)
    • 69 Metascore
    • 50 Critic Score
    Young Man with a Horn
    There's one, and only one, good reason to rent this movie - the music. [08 Sep 1990]
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 90 Critic Score
    Dark Passage
    The third of four films teaming Humphrey Bogart and Lauren Bacall, this 1947 feature is a cinema classic. [20 Nov 2009, p.R21]
    • The Globe and Mail (Toronto)
    • 89 Metascore
    • 88 Critic Score
    The Yearling
    A classic film that only low-down no-good viewers could fail to like. [18 Dec 2004, p.8]
    • The Globe and Mail (Toronto)
    • 96 Metascore
    • 75 Critic Score
    The Grapes of Wrath
    Unlike the book, the movie slides into idealistic Hollywood convenience (the state-run labour camps, for example, are paradise compared to the privately owned versions), but the story is driven by gritty realism and remarkable acting. [31 July 2009, p.R20]
    • The Globe and Mail (Toronto)
    • 99 Metascore
    • 100 Critic Score
    Pinocchio
    One of the best fantasies ever made. [13 Mar 2009, p.R20]
    • The Globe and Mail (Toronto)
  18. The Wizard of Oz
    In set design, choreography, performances and music, The Wizard of Oz is a brilliant bauble of collective filmmaking, in what may have been Hollywood's greatest single year. [06 Nov 1998]
    • The Globe and Mail (Toronto)
  19. Duck Soup
    This 70-minute movie is the most startling, breakneck comedy of the Marx Brothers' career... Next to Chaplin's "The Great Dictator", this is the purest satire of dictatorship on film. [20 Jan 1996]
    • The Globe and Mail (Toronto)
  20. Blurred Lines: Inside the Art World
    The film's brisk pace is a bit wearing once the one-hour mark is passed, but the high energy and intelligence is quite charismatic over all.
    • 34 Metascore
    • 50 Critic Score
    The Time of Their Lives
    Director Roger Goldby tinkers with important issues around aging, only to steamroll it all with a slipshod script.
  22. I Love You, Daddy
    Ostensibly an homage to Woody Allen’s Manhattan, Louis C.K.’s “secret” movie – it comes to TIFF only a few months after it was shot, with no prior publicity – is more an overlong rebuke to allegations of the filmmaker’s own sexual misconduct.
  23. Radius
    The filmmakers make excellent use of the Manitoba shooting location (perfect for an eerie mood of societal isolation) and the story's key theme – can we be responsible for things that are out of our control? – is a compelling one. Unlike its lead characters, you can safely, if not eagerly, approach Radius without fear of dying.
  24. American Woman
    Heist movies usually focus on the crime; road movies on the road. American Woman flicks at those genres, but its focus is somewhere else – on the relationships that develop in the liminal spaces between moments of intensity.
  25. I Don't Know Who You Are
    While delicate in its tone and thoughtful in its aesthetics, there is a nerve-rattling sense of desperation driving the entire endeavour, the anxiety slowly but surely seeping off the screen until it courses through the audience, head to toe.
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