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 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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  1. I Saw the TV Glow
    It is at once a singular piece of pop-cult art, delivered with the brash confidence of a filmmaker who has either been told “no” too many times or not enough, and a film that could not exist without the contributions of Cronenberg and a dozen of his contemporaries and acolytes (including Donnie Darko’s Richard Kelly), their midnight visions co-opted by Schoenbrun into one slickly nostalgic neon-lit nightmare.
    • 85 Metascore
    • 90 Critic Score
    A Real Pain
    It’s funny, sad and beautifully acted, and, like the best indie fare, it offers no pat conclusions.
  3. Two of Us
    As visually stunning as it is profound, Two of Us is an incredible exploration of what it means to love and be loved in return. And while Sukowa’s passionate and remarkable performance is heart-stopping, Chevallier’s quieter moments will make an indelible mark on your heart, changing the way you see others and even yourself.
    • 78 Metascore
    • 90 Critic Score
    The Chronology of Water
    The film is tragic, but not piteous. Stewart, by way of Yuknavitch, understands that memory and cinema are both instruments of time, able to chronologize a life that lurches on – a work that is made and unmade with each breath, each cut.
  5. It Was Just an Accident
    A miracle of a movie that could only exist due to everything going so very wrong.
  6. Obsession
    This isn’t a movie of easy cynicism or a snide middle finger to horror-movie tradition – it is a finely calibrated shock to a system that Barker obviously grew up worshipping.
  7. Islands
    There are great things to be found in little packages, and Islands offers tremendous evidence that, if Edralin might ever be given more than the bare minimum of resources, the director will create something gigantic.
  8. The Blackening
    Even if its cultural and artistic stakes remain relatively low in the grand scheme of things, The Blackening – whose enjoyment absolutely lies in the fact that it both knows exactly the confines it’s working within and doesn’t take itself too seriously – is still a hell of a good time.
  9. Close
    Fans of stunning cinematography, thoughtful writing and pure, unadulterated emotional torture will find Close to be worthy of the Oscar nod.
  10. Kidnapped: The Abduction of Edgardo Mortara
    A testament to the insidiousness of systemic abuse, Kidnapped illuminates the tragedy of unchecked power exploited by men. It upholds the importance of separating church and state, serving as a painful reminder that authoritarianism is a dangerous road soaked with the tears of its countless victims.
  11. Spider-Man: Across the Spider-Verse
    Into the Spider-Verse was almost a chore to keep up with, albeit a joyful one. Its superb sequel, Across the Spider-Verse, keeps up that momentum, goes further with the artistry and is perhaps even more rewarding. Like any great sequel free from the legwork of setting things up, this one is more contemplative and soulful.
  12. The White Fortress
    The White Fortress is a startling, hypnotizing, but above all haunting work destined to linger.
  13. Everything Everywhere All at Once
    It is a film that asks audiences to take the plunge into chaos and confusion, so that we’re able to fully see the innate humanity of what remains when the dust of it all settles.
  14. Minari
    The film forms a kind of origin story, giving voice to the often silent experiences of a particular immigrant community in the 80s. Lachlan Milne’s cinematography veers from prosaic to evocative to breathtaking, depending on the scene.
  15. The Secret Agent
    The Secret Agent is not only mining the director’s own personal cinematic education – it is rich in homages to everything from The Parallax View and McCabe & Mrs. Miller to Shivers and, of course, Jaws – but also excavating an entire nation’s past.
  16. 28 Years Later
    Boyle, who won the Best Director Oscar for Slumdog Millionaire, has often let his sentimental side get the best of him. But here there’s a maturity, gracefulness and elegance to how he hits those notes, though they’re nearly undone by a goofy but admittedly fun coda setting up the series’ next installment.
  17. Rumours
    An experiment in prestige quirk, Maddin and the Johnsons’ film isn’t as interested in satirizing the complex and frustrating nature of geopolitics as they are in using the material to unload a heaping load of gags ranging from the scatological to the philosophical.
  18. Hit Man
    Linklater knows exactly the power that his leading man commands, but instead of lazily exploiting it off the top, the director reverse-engineers a charm offensive so earth-shaking that it registers on the Richter scale.
  19. The Substance
    While its celebration of all things fleshly, protrusive, and gloriously ectoplasmic may not be for those viewers too faint of heart, Fargeat’s no-holds-barred, wholly beyond your wildest expectations approach with The Substance will leave genre fans kicking their feet up in glee.
  20. Measures for a Funeral
    Audrey is the best kind of inscrutable hero, as precise in her obsession as she is enigmatic in every other aspect of her life. For moviegoers starving for something new who, like Audrey, have nearly given up the ghost, Measures for a Funeral is a symphony, full and rich.
  21. The Taste of Things
    If you can appreciate the simple concept of nourishment – of the stomach, and of the soul – then you will walk away delightfully stuffed.
  22. Concrete Valley
    Sensitive and intimate might be the obvious adjectives for such a film, but Bourges is also intent on making Concrete Valley quite funny in parts, the humane humour balancing the ever-present anxiety that exists in many of Thorncliffe Park’s hallways and crowded elevators.
  23. 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.
  24. Sound of Falling
    In just her second feature, Schilinski creates a true art-house epic, haunting and lyrical.
    • 84 Metascore
    • 90 Critic Score
    Sinners
    If anything, Sinners is the freest that the Creed and Black Panther filmmaker has ever been: stitching drama to spectacle, folding the personal into the political, slipping past the limits of what studio films are supposed to do in favour of what they still might dare to try.
  26. Pillion
    The evolution of Colin and Ray’s relationship is traced with a steamy kind of sensitivity. Lighton, in his feature directorial debut, never treats the BDSM scene as an object of fetishistic curiosity, but rather a culture rich with yearning, compassion, jealousy – the entire gamut of romantic life.
    • 85 Metascore
    • 90 Critic Score
    Close Your Eyes
    Though this intricate scenario neatly develops upon its director’s catalogue, Close Your Eyes still feels singular and prodigious – a film that works just as well for those unfamiliar with Erice, moving with the viewer to unveil its secrets.
  28. Den of Thieves 2: Pantera
    Pantera mixes its many influences into a smooth spectacle so confident and patient in its assemblage that it instantly wins you over.
  29. Writing with Fire
    I’m fascinated by these women who cover dangerous ground – treading centuries of patriarchy and caste prejudice with measure and grace.
  30. Armageddon Time
    Every detail and narrative swerve are stacked on top of the other to build a monumental story of compromises and consequences. This is a brave film, bracing and thoughtful. It is also, at times, painfully funny.
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