The Globe and Mail (Toronto)'s Scores

For 4,441 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Crying Game
Lowest review score: 0 A Haunted House 2
Score distribution:
4441 movie reviews
  1. Soderbergh has bathed the Depression in lovely, golden-brown hues - so lovely, so golden, that the flick seems to be unfolding from inside the delicious core of a burnished bran muffin. [20 August 1993]
    • The Globe and Mail (Toronto)
  2. I'll personally toast the buns of anybody I hear saying anything good about the movie Broadcast News. Broadcast News is for boobs. It doesn't apply to us. Anyone who thinks otherwise is invited not to think, because thinking is for statues. [16 Dec 1987, p.C5]
    • The Globe and Mail (Toronto)
  3. The performances, the writing, the direction, Segel’s D.F.W. impression, everything is just fine. But The End of the Tour is disgraceful. It feels like it’s towing out the real Wallace’s ghost to perform some soppy parody of himself.
  4. Because the society in Menace II Society is boxed in sociologically, the picture (for all its strengths) is boxed in esthetically. Already, this genre is beginning to seem as much a victim as the victims it portrays.
  5. The problem here isn't how the figures look; rather, it's what they do and say -- the story is lame and the dialogue no better.
  6. JFK
    A three-hour oration, rambling and familiar and repetitive, during which director Oliver Stone uses the assassination of John Kennedy as an elaborate pretext for delivering a dull sermon. [20 Dec 1991]
    • The Globe and Mail (Toronto)
  7. In short, there are an awful lot of subplots and comic characters but none of the actors in this star-studded cast is allowed to build his laughs and the Coens just abandon several of these vivid personalities along the way.
  8. If that wasn’t enough, there is something even more dispiriting about Doctor Strange beyond its halfhearted visual and narrative ambitions – an issue that made a brief blip on the cultural radar when the film was first announced but has distressingly gone unheard of since: This is a movie that revels in whitewashing.
  9. A cinematic homage as flawed as its subject. Flawed, yet with a peculiar fascination of its own -- what we have is a genuine artist paying sincere tribute to an unapologetic mediocrity, and stooping awkwardly to the task.
  10. Despite an inspired central section involving Robin Williams as the King of the Moon and Valentina Cortese as his Queen, The Adventures of Baron Munchausen is a near-disaster of Ishtarish proportions. [11 Mar 1989, p.C3]
    • The Globe and Mail (Toronto)
  11. It's unclear as to how we are supposed to feel about these monologuists, the majority of whom are twentysomething; nothing is how I felt about them, but perhaps I was tired. [27 Sept. 1991]
    • The Globe and Mail (Toronto)
  12. The director’s pedestrian tactics are most evident in his command, or lack thereof, over his cast. While Parker knows how to expertly play to the camera – he all but winks at the audience, so confident is he in his admittedly captivating lead performance – he abandons his fellow actors, allowing them to exploit their worst instincts: hammy accents, wild gesticulating, uneasy line readings.
  13. John Wick is the most blatant attempt to establish a character’s name recognition since the Angelina Jolie actioneer "Salt."
  14. The film preaches the gospel of unpredictable change, of ironic metamorphosis, of a psychological ebb and flow from love to lust, hope to despair, good to evil. But if the message is fluid, the medium is static at best and chaotic at worst - there's very little controlled motion in this picture. [19 June 1992]
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 38 Critic Score
    What could have made Noah work is the same sense of urgency – of fateful craziness – that made "Pi" so memorable, and which also factored into the fatal obsessions of "The Wrestler" and "Black Swan" (two very flawed movies that admittedly benefited from stronger lead performances than the one here).
  15. Perfectly passable kiddie escapism. It has a thrill or two, and a chill or three, but it has no poetry, little sense of wonder, no resonant subtext (Jungian or otherwise), no art... When it's over, it's gone. Extinct.
  16. When you combine the megawattage of Gyllenhaal and Adams with Ford’s directorial … well, “prowess” would be too strong a word, so let’s go with “vision.” So, when you combine those two actors with Ford’s vision, what you get is a ridiculous, high-camp mess that could easily be mistaken for substance, if it weren’t so irredeemably silly.
  17. There are a few laughs at the start of This Is the End, and a couple more at the end of This is the End. As for the endless middle, it’s middling.
  18. The Peanuts Movie is a sloppy mash-up of disconnected vignettes and rehashed jokes, all lazily reverse-engineered from the premise that a Peanuts movie is a thing that people will like and will happily pay to see.
  19. It's a turning-the-tables story a five-year-old could appreciate -- except for the confusing crowd scenes and haphazard camera work. Technically speaking, Waters' skills haven't improved much over the years.
  20. American Me is a graphic and honest effort that, unfortunately, becomes a catalogue of other films on similar subjects. Its depiction of prison life is much too slow, too long, too repetitive and too familiar. [13 Mar 1992, p. C3]
    • The Globe and Mail (Toronto)
  21. Condescending, self-righteous and sloppy, Truth is simply a bad film for which there are no excuses.
  22. More manipulative, maudlin trash from the Disney-Pixar content farm.
    • 66 Metascore
    • 38 Critic Score
    The problem with this spinoff is, like homework, you’d rather be doing something else with your time.
    • 65 Metascore
    • 38 Critic Score
    It adds nothing to our understanding of "Howl," and the movie is exactly what the poem isn’t: ordinary.
  23. On the whole, the film is content to lumber awkwardly between the condemned man on death row and the intrepid reporter on his save-a-life beat -- there's about as much rhythm in the style as there is sense in the plot.
  24. After a great start, Wolfgang Petersen's intelligent medical thriller is infected by some nasty germs, resulting in the all-too-common Actionitis. [10 Mar 1995]
    • The Globe and Mail (Toronto)
  25. Admittedly, it's been a long time since Kelly McGillis was being hyped as "the next Grace Kelly." But of all the films in all the world for whom the former Top Gun lust object could have done a walk-on, this lacklustre haunted-house feature is the one she chooses?
  26. The movie seems much, much longer than its 90-minute running time. [15 June 1998]
    • The Globe and Mail (Toronto)
  27. The cast is equally strong (especially McDonnell), but the vast subject and the shifting settings force Kasdan all over the map. [10 Jan 1992]
    • The Globe and Mail (Toronto)

Top Trailers