The Globe and Mail (Toronto)'s Scores

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For 7,299 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: 4,355 out of 7299
  2. Mixed: 1,828 out of 7299
  3. Negative: 1,116 out of 7299
7299 movie reviews
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  1. Things We Lost in the Fire
    Apart from the mobile camera and a moderately challenging time-jumping script, this is weepy women's cable-television fare of the tears-and-cuddles variety.
  2. City of Men
    A mix of credible sociology and tired melodrama, along with a palpable sense of déjà vu. Because the plight of boyz 'n' the hood is a global tragedy, its depiction on the screen has become a global commonplace with its own attendant danger – the tragedy is starting to feel trite.
  3. Freaks
    This is clearly a film that favours concept over narrative expansion, and it suffers for this.
  4. Cry-Baby
    Cry-Baby is snifflingly nice. By going too far with its teardrop motif, it does the soggily unthinkable: it waters John Waters down. [6 Apr 1990]
    • The Globe and Mail (Toronto)
  5. World War Z
    Leave it to Brad Pitt, producer and star of World War Z, to try to put the zip back in zombie.
  6. Maria
    By focusing his lens on the personality of the diva, as opposed to her artistry, Larrain doesn’t truly give us insight into what made Maria into “La Callas.” We get glimpses of the tragedies and scandals in her life that inspired and informed her powerful – and often divisive – vocals. But we don’t understand the artistry behind the voice.
  7. Hello, My Name Is Doris
    A sharp dramedy focusing on the romantic stirrings of a lonely office worker, played with considerable wit and verve by the 69-year-old Sally Field.
  8. Split
    The problem with Shyamalan’s spin on dissociative identity disorder is that for all the dissociation, why are all 23 identities cool with locking terrified girls in a basement?
  9. I Capture the Castle
    It is, alas, très twee. A muchness of silliness. Beautifully filmed silliness, and fetchingly acted tweeness. But give me Cruella de Vil any time.
  10. Alpha
    There’s something delightfully clever in a narrative that is easily transferable to modern times. Speaking of which, seeing Alpha on as big and splashy a screen as possible is advisable, preferably with children who can handle occasional scenes of intense peril.
  11. Life
    The result is a movie that's both odd and mediocre: not as bad as doing hard time, but not a particularly good time, either.
    • 63 Metascore
    • 63 Critic Score
    L'amour fou
    Despite its name, L'Amour Fou, a documentary about the late fashion genius Yves Saint Laurent and his partner Pierre Bergé, is not entirely a love story. Really, it's a story of loneliness and loss.
  13. Chef Flynn
    Ultimately the film is as much about the mother and parenting as it is on the hot-plating Doogie Howser. It’s good food for thought, even if the film doesn’t quite come together.
  14. The Upside of Anger
    Meant to explore anger, all this picture does is manufacture it.
  15. The Dreamers
    Lives down to its title -- what an odd and gauzy reverie this is, a strangely muted picture that unfolds at a distinct remove from the reality around it.
    • 63 Metascore
    • 75 Critic Score
    This Changes Everything
    Ultimately, This Changes Everything is a mainline to the first-hand experience of those who work and exist outside the white male umbrella. And because of that, it’s an exercise in storytelling that evolves quickly into a valuable lesson for anyone who purports to be a feminist, an ally or a film and television lover. You’ll never watch either the same way again.
  17. Faces of Death
    In an era where studios are obsessed with reviving ostensibly comforting intellectual property, Goldhaber has twisted the end-goal of modern Hollywood radically and beautifully.
  18. Kit Kittredge: An American Girl
    Sure, this is marginal, but it's precisely in the margins that the movie excels.
    • 63 Metascore
    • 50 Critic Score
    This Christmas
    Occasionally engaging but very chaotic movie.
  20. Laggies
    The movie’s compromised tone, wavering between emo introspection and rom-com cuteness, is awkward in all the wrong ways.
  21. The Rip
    A corrupt-cop drama that is mostly aware about its B-minus-movie aspirations, Carnahan’s film is a thoroughly enjoyable if not particularly original mashup of Training Day, Cop Land, Triple 9 and a dozen-plus other films in which it is up to One Good Cop™ to solve a mystery involving a dead police captain, dirty officials and millions of dollars in drug-cartel money.
  22. The Devil Wears Prada 2
    By the end, the people being betrayed are the fans.
  23. True Lies
    Director James Cameron always works on a mega- canvas, yet he's brought off something unique here.
  24. Free Fire
    This is a mostly fun, over-the-top ode to the siege movie, as well as a love/hate letter to all things firearm-related.
  25. Keanu
    The plot is threadbare, but cutely disarming in its own way.
  26. In the Earth
    When Ben Wheatley is having a laugh, he can make for a perversely pleasant genre tour-guide. When he starts to get high off his own supply, though, it’s best to hike back to civilization.
  27. Beau Is Afraid
    Its visual imagination is wonderfully unrestrained, compelling in its extremes even when it is so clearly indebted to every movie that Aster hoovered up to get here. Its tone is impressively steadfast in its desire to repel one moment, entrance the next. And its performances are across-the-board astounding in their commitment.
  28. A Haunting in Venice
    By the time the deep dark truth about the mysterious case is revealed – in a series of twists that are more “agh” than “aha” – even the hardest core of Christie fans won’t be itching for a fourth Poirot go-round from Branagh. Which will not only benefit audiences but also the filmmaker himself.
  29. Megamind
    The plot is rich, the execution poor.
  30. Burn After Reading
    It's clear that Burn After Reading is a wannabe cult favourite -- some viewers may embrace it; many more will just want to burn after watching.
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