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 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: 4,355 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. Demonic
    Unfortunately, Demonic often lacks the substance and energy needed to back up its narrative originality and hybrid genre form. While it is refreshing to see the groundedness with which the director approaches his newest project, his larger-than-life ideas still seem to have trouble finding their exact footing.
  2. Prisoners of the Ghostland
    It is an overstuffed, manic, exhausting piece of instant movie-meme catnip – likely impenetrable to all but the hardest of hardcore genre devotees.
  3. Bruised
    Bruised is a well-directed debut: Berry understands how to make a competent sports drama complete with all the emotional training montages and passion that viewers expect. Plot-wise, though, Bruised doesn’t offer more than the genre has delivered time and time again, which is a shame because the film contains some remarkable performances.
  4. I Love My Dad
    The director fumbles frequently, but at least he is confident enough in his uneven vision to push through all (warranted) doubts and deliver a story that is every bit awful as it is uncompromising.
  5. Black Widow
    Once we’re in the story proper . . . Black Widow quickly turns into another rote exercise in Marvel house style.
  6. Fear Street Part Three: 1666
    Ultimately, Fear Street is a shiny and expensive super-cut of callbacks and needle-drops. It is cool but empty horror worship.
  7. Antlers
    Russell, Plemons and especially the young Thomas excel at highlighting the emotional and spiritual fissures that can result from living in an easy-to-ignore, easier-to-disdain community. But there is a ultimately a hollow sickness to Antlers – a film intended to provoke gasps and gags, but at the same time so superficially produced that it chokes on its own ambitions.
  8. Fire of Love
    While Dosa has a talent, and perhaps a fascination equalling her subjects, for illustrating the hidden beauty of the natural world, she ultimately crafts a film that is too neatly packaged.
  9. We Have a Ghost
    We Have a Ghost is a desperate mix of feel-good sentimentality, watered-down surreality, and comedy as transparent in its hackiness as the film’s title spook.
  10. Michael
    What could have been a layered, insightful portrait of the most complicated, significant figure in pop-culture history has been reduced to a supersized music video slash concert documentary, the man in its mirror more of a faded reflection than anything else.
  11. The Contractor
    While his character is intended to be lost and powerless, Pine seems adrift in another way, too – a star without a proper star vehicle.
  12. The Color Purple
    The Color Purple arrives as a confused byproduct of the industry’s best intentions and worst habits.
    • The Globe and Mail (Toronto)
      • Posted Dec 19, 2023
  13. 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.
  14. Men
    With Men, the British filmmaker is stubbornly needling his audience with a never-ending barrage of pointy-ended questions that he has neither the inclination nor intention of vaguely addressing or even thinking through on his own terms. Men is a riddle wrapped in a mystery inside an enigma, all scrawled in crayon.
  15. My Salinger Year
    After watching the film twice in quick succession – a futile attempt at catching a glimpse of what usually makes a Falardeau film so immensely watchable (see the Quebecois filmmaker’s Monsieur Lazhar, The Good Lie, My Internship in Canada and Chuck) – My Salinger Year ultimately lands as a mere footnote.
  16. Yes Day
    Ultimately, Yes Day doesn’t commit to either being a full-out family fun movie or a family drama.
  17. Good Luck, Have Fun, Don't Die
    An ambitious but ultimately sloppy time-travel epic, Good Luck wants to deliver an incendiary critique of artificial intelligence and our reliance on big tech. Yet it ends up being so exhausting and weirdly dull that it will force audiences to pull out their phones out of sheer restlessness.
  18. Billie Eilish: The World's a Little Blurry
    The heart of the needlessly lengthy 140-minute film is Eilish’s support system, which is to say her family – a screenwriter mother, a construction worker father and her older brother/producer/songwriting partner Finneas O’Connell. They’re all grounded, thoughtful and dedicated to the protection of a self-loathing teen who is coming of age in front of the world.
  19. Twisters
    The sequel to Twister – which pluralizes the title, while following the same beats as its predecessor – is serviceable. But it also misses what made director Jan de Bont’s disaster spectacle such chaotic fun to begin with.
  20. Shelby Oaks
    The script, which has a “story by” credit from Stuckmann’s wife and fellow genre enthusiast Samantha Elizabeth, jumps all over the place in tone, from wild to solemn, with no real resting place in between.
  21. The Unbearable Weight of Massive Talent
    A cheap, crass and ruthlessly sloppy skewering of celebrity culture that is barely a millimetre above the material it thinks it is so sharply satirizing, Gormican’s new film is the definition of disappointment.
  22. The Tomorrow War
    It is a fool’s errand to imagine what someone like Verhoeven would have done with The Tomorrow War’s material – this is a movie made for the express purposes of delivering some lazy woo-hoo summer fun, not any kind of sneaky subversiveness.
  23. The Alto Knights
    Every single beat of The Alto Knights feels like an historical footnote from Goodfellas or The Godfather Part II stretched out to interminable feature length – musty, dusty, dry.
  24. The Adam Project
    It is fast-food fantasy, artificially flavoured and quickly devoured.
  25. Another Simple Favor
    Seven years is a long time to attempt a reheating of all the many ingredients that made the original film go down so easily, and Another Simple Favor simply tastes off.
  26. Rifkin's Festival
    The 86-year-old director could stand to at least polish the material, which in Rifkin’s Festival is so well-worn that it threatens to disintegrate into nothingness.
  27. Rental Family
    The star’s eager-to-please persona and overgrown puppy-dog physicality keeps the film from falling into complete shtick. It is all the more remarkable a feat given that Phillip is a complete cipher of a character.
  28. The Running Man
    Presented with every opportunity to say or do something remotely new or compelling, Wright, typically a talented stylist, elects to shrug his shoulders, delivering a wafer-thin confection that is aggressively disinterested in both ideas and action.
  29. Anaconda
    Similar to getting caught in the grip of a giant Amazonian snake, in which you have the privilege of hearing your bones break before the power of the embrace causes your veins to explode, the experience of watching Tom Gormican’s new action-comedy Anaconda is a painful one.
  30. Fly Me to the Moon
    The film spins off into several tonally unsteady directions.
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