The Globe and Mail (Toronto)'s Scores

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For 7,297 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: 4,354 out of 7297
  2. Mixed: 1,827 out of 7297
  3. Negative: 1,116 out of 7297
7297 movie reviews
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  1. Weapons
    Quickly and efficiently, Cregger sets up his world and its impossibly high stakes with style to burn. Finally, we have a horror movie director who knows how to properly light a nighttime scene. But once Cregger’s narrative threads are laid out, the writer-director has a helluva time stitching them together.
  2. Freakier Friday
    By multiplying the number of body-swaps, the script seems to have accidentally increased its plot padding, too, resulting in a mushy mess that is only fitfully charming. But when the film does work, it delivers the kind of thank-goodness-it’s-Friday success story that will warm the heart of every long-time Lindsay Lohan fan out there (we are legion).
  3. The Bad Guys 2
    Whenever Rockwell’s purr comes on, which is often given Mr. Wolf’s central role, the whole affair sings, uniting both children who are naturally entranced by the actor’s delivery and adults who get Oscar-calibre work in an otherwise forgettable kiddie flick.
  4. Together
    Together is such a sharp blend of the hilarious and the terrifying that it busts your gut at the same time it has you gritting your teeth.
  5. Oh, Hi!
    Directed by Sophie Brooks and co-written by Gordon, it subverts both the rom-com and horror genres to produce an original story that thwarts predictability.
  6. The Fantastic Four: First Steps
    The Fantastic Four is here for a proper reset – a buoyant and frequently dazzling one at that, which sort of makes up for the failed movie adaptations of Marvel’s first family from the past.
  7. I Know What You Did Last Summer
    While one-time teen dreams Hewitt and Prinze Jr. earn their paydays by lending a semblance of gravitas to the silliness, their brief on-screen presence only underline the lifelessness of today’s fresh meat.
  8. Cloud
    By the film’s haunting finale – a gut-punch moment of reckoning that follows nearly half an hour of entertainingly amateurish gunplay – Kurosawa’s sentiments on the current state of e-commerce are clear. Whether emptor or venditor, capitalism is full of caveats.
  9. Smurfs
    If you can’t Smurf anything nice, then don’t Smurf anything at all. Such is the key lesson to be taken away by discerning parents this weekend after being dragged by their children to yet another big-screen adaptation of everyone’s second-favourite blue-man group.
  10. Eddington
    The result is a magnificently off-the-rails poison pill of a film, one that skitters from paranoiac thriller to reactionary satire to something far more caustic and unnerving. It is the cinematic equivalent of long COVID – lingering, haunting, and demanding rigorous, skeptical investigation.
    • tbd Metascore
    • 40 Critic Score
    Simple Plan: The Kids in the Crowd
    The band’s story should be a compelling one to tell. But The Kids in the Crowd glazes over the kind of story Simple Plan deserves, instead tending toward a superficial kind of fan service.
  12. Superman
    The problem is, while alluding to the depressing state of things, the gleeful fun Gunn insists on having, with his kitschy aesthetic and silly humour, can feel forced.
  13. 40 Acres
    40 Acres is a top-tier genre film that Trojan-horses a flood of knotty, provocative conversations into multiplexes via the best kind of speculative fiction.
  14. Jurassic World Rebirth
    So many of Rebirth’s images and set pieces are lifeless, and no amount of on-location filming in Thailand – versus the soundstage green screenery so favoured by most of Jurassic’s blockbuster contemporaries – can hide the fact that very little in the screenplay makes logistical, narrative or emotional sense.
  15. Heads of State
    More often than not, Heads of State feels as if it is missing its own leader, as if the director was simply a package lost in the Prime delivery mail.
  16. F1: The Movie
    Nothing is exactly new in F1, yet at the same time it is all immensely, rewardingly renewable – a true blue box of recycled cinematic trash, compacted into something irresistibly bright and shiny.
  17. Elio
    Disney and Pixar’s latest outing delivers on some frontiers, but puzzles on others.
  18. 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.
  19. Boxcutter
    The real charm of Boxcutter is just how Dahya and his cinematographer James Klopko capture the city as Rome criss-crosses it. Without jackhammering the point home, the film’s vision of Toronto is one of a city shedding one skin to wear another, in the process forcing all the creative forces who make it so special further and further outside its boundaries.
  20. How to Train Your Dragon
    The dragons are fine by today’s CGI standards. Toothless glistens, thankfully. Young audiences will be delighted.
  21. The Life of Chuck
    More than likely, Flanagan’s film will leave you a sobbing mess. But there is a sense of betrayal, too – it’s almost too easy to wring those tears. Take this dance, sure, but bring the Kleenex, too.
  22. Ballerina
    Exploiting a mere sliver of story from John Wick: Chapter 3 – Parabellum, Ballerina concocts an especially dull origin story for an ancillary piece of Wickian lore.
    • The Globe and Mail (Toronto)
      • Posted Jun 4, 2025
  23. Dangerous Animals
    Dangerous Animals is like a bowl of shark-fin soup laced with a dollop of vegemite: not exactly good for either you, your taste buds or the environment, but strangely compelling nonetheless.
    • 61 Metascore
    • 50 Critic Score
    Two Women
    While the performances are memorable (Gonthier-Hyndman especially), there is an indifference in the writing, particularly around Florence’s mental health, that feels off-putting while impersonating compassionate comedy. Here and there, some gags work, but one is liable to emerge from the whole exercise feeling weary rather than liberated.
  25. Lilo & Stitch
    The reboot is sure to delight the young ones in your care, especially over the summer. As for the older ones? There are enough throwbacks to reminisce – and then revisit the offbeat classic.
  26. Bring Her Back
    Bring Her Back feels less like a movie than a finely tuned instrument of doom. In the devilish hands of Australian filmmaking brothers Danny and Michael Philippou, evil has been concentrated into an exceptionally and impressively nasty 104 minutes.
  27. The Phoenician Scheme
    All the magnificent little elements add up to a whole lot of not-enough this time around, resulting in a creaky and exhausting pastiche of Andersonia rather than the real deal.
    • 73 Metascore
    • 70 Critic Score
    Jane Austen Wrecked My Life
    Lamenting the loss of the arthouse rom-com often feels like pleading for dessert. Thankfully, Piani’s debut is sweet enough to nurse the craving.
  29. Mission: Impossible – The Final Reckoning
    Once Cruise and McQuarrie expunge all the Ozymandias from their systems, The Final Reckoning manages to deliver the goods. Or at least make a decent case that Cruise has earned the right to become his own biggest champion.
  30. Final Destination: Bloodlines
    Much like its predecessors, Bloodlines joyfully relishes in its Rube Goldbergian kills and thrills, often trading on the absurd humour of its own fashioning.
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