The Globe and Mail (Toronto)'s Scores

For 5,145 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Gravity
Lowest review score: 0 The Hangover Part III
Score distribution:
5145 movie reviews
  1. If you see Clue only once, and it's hard to imagine seeing it more than once, even for the five different minutes, the "A" is by far the best, featuring as it does (this does not give away the identity of the murderer) a splendidly funny shtick from Madeline Kahn. [13 Dec 1985, p.D5]
    • The Globe and Mail (Toronto)
  2. Five Armies only feels truly entertaining when it embraces the arch silliness of its material; like when 92-year-old actor Christopher Lee whirls about in combat with a handful of ghosts.
  3. Although the subject, school bullying, is as fresh as today's headlines, the treatment isn't. Despite the efforts of an impressive cast, the film starts out stale and then just gets tedious.
  4. Tropic Thunder is an assault in the guise of a comedy – watching it is like getting mugged by a clown.
  5. Director Walter Salles, who knows a thing or two about picaresque journeys – in "The MotorcycleDiaries," even in "Central Station" – does make an honest effort here.
  6. Sorry, this one doesn't really work at all, but don't blame the workers.
  7. Ironically, Middle School’s message is about encouraging kids and grown-ups to think outside the box and yet, the filmmakers themselves do precisely the opposite.
  8. It's a combination that seems ideal for 10-year-old boys who adore violence, and could well be the cornerstone of the next DreamWorks franchise.
  9. With its close attention to the Little Italy milieu and its farcical treatment of a safecracking, the picture is designed to turn Martin Scorsese's scathing Mean Streets into a sitcom. It could be done, and done well, in the right hands, but those hands do not belong to the calloused paws of the pugilistically inclined director Stuart Rosenberg. [22 June 1984]
    • The Globe and Mail (Toronto)
  10. With less expensive actors, it might just have been called Chase Movie, and played for laughs.
  11. It’s ripe to the point of bursting and, with a plot that tilts to melodrama, Davies flirts dangerously with cliché, creating an over-wrought period piece where every wheat field is bathed in golden sunlight and every childbirth is announced by chilling screams.
  12. There are so many events here but no real story. Perhaps that is what's making the drowned kabuki ghost so irate: She's desperate to find a coherent script.
    • 56 Metascore
    • 50 Critic Score
    When one of the most enlightening moments of a film comes during the postscript (black holes!), you know there’s a problem – one that has nothing to do with math.
  13. Reign Over Me drizzles down on us for two full hours, persistently determined to prove that, if it hangs around long enough, a coherent movie will turn up. No such luck.
  14. More than anything, the film lacks a rapport with its audience.
  15. But there's no sign of the writerly derring-do that is really essential to daisy-chain storytelling. 200 Cigarettes burns itself out well before midnight.
  16. David Keith, a native of Tennessee, had a tiny role in The Rose (as Bette Midler's soldier friend) and he is one of the few in the Brubaker cast whose accent is authentic and who appears to have the wherewithal to survive in a penitentiary. His scenes are the only respite from the movie's shrill, simplistic self-congratulation. [21 June 1980]
    • The Globe and Mail (Toronto)
  17. 5 Days of War feels low-budget in everything except its battle sequences.
  18. Trying to pick faults with a sound-and-spectacle juggernaut like Armageddon is like taking an ant gun to an elephant: All the movie's staggering conventional weaknesses -- ludicrous plot, weak characterization, incomprehensible staging and ambient racket -- are irrelevant.
  19. As long as Chbosky sticks to the story of surviving high school, Perks has a modest charm. But a melodramatic last-act bombshell about Charlie's troubled past, is jarring – like the giant foot of Godzilla descending to squash tender Bambi. It's a case of too much, too late and, ultimately, from a different kind of movie.
  20. Kenneth Lonergan's new film, Margaret, finally released six years after it was shot, now seems destined to become part of film history as one of the more stunning examples of a filmmaker's sophomore slump.
  21. Saddled with this hollow script, Stone pads with elaborate set pieces.
  22. Fighting is a crude love letter to seventies' New York cinema but set in the present.
  23. Rather than being one of us, this stumpy-legged dingbat is a realization of our worst social fears. Before we were laughing with her, and now we're laughing at her.
  24. At his best, Clint directed as he acted -- sparely, laconically, but concisely, with a clean precision. There are flashes of that trademark style early on, but it soon degenerates badly.
  25. Whatever the locomotive power of the novel, this film adaptation only limps into the station.
  26. We all love Winnie the Pooh; that is why we are interested in the story of the real Christopher Robin. To learn that public affection all but destroyed his childhood makes an audience uncomfortably complicit in this cuddle-free origin story of the world's most famous teddy bear.
    • 64 Metascore
    • 50 Critic Score
    A frustratingly toothless film whose heart is in the right place even if its head isn't.
  27. Nothing in this explicit display is remotely engaging. That's because the sex is a metaphor here. In fact, most everything is a metaphor here. Or a symbol -- the picture is a veritable cacophony of jangling symbols.
  28. Once Bullock's character clears her head at the top of the thrill ride, Premonition becomes inescapably dull because it is her mental health, not her purposefully dull husband's fate, that interested us.

Top Trailers