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. The Last Station
    Fitfully interesting, occasionally cringe-worthy, this is the sort of stagy production that mixes ribaldry and campy overacting that evokes summer theatre productions.
    • 76 Metascore
    • 75 Critic Score
    The Guest
    A film as lithe and seductive as its lethal main character.
  3. Margin Call
    Chandor's shrewdest bit of business is figuring out how to make an A-list movie with a $3.5-million budget. Solution: buy low, sell high. Hire last decade's A-list – Spacey, Irons and Demi Moore – and give them their best parts in years.
  4. Red Penguins
    The latest film from sports documentarian Gabe Polsky (In Search of Greatness, Red Army) is a doozy.
  5. The Hand of God
    There is something magical in Sorrentino’s tender, flawed familial portrait that risks social taboos. I’d rather watch something beautiful and dumb vying for real emotional truth than the woke-est and most sanitized cinema, which only wants my approval. The Hand of God is a sprawling, gorgeous mess, but one you can’t look away from – and it might just break your heart.
  6. Vic + Flo Saw a Bear
    If there’s a low-key disappointment to Vic and Flo, it’s that the film teases the mind and pleases the eye without requiring emotional commitment.
  7. Wonder Woman
    Wonder Woman may not qualify as a particularly suspenseful First World War movie and it may not feature enough globe-spinning special effects to satisfy hard-core superhero fans, but it certainly is an intriguing combination of the two genres.
  8. Tito and the Birds
    The animation is equal parts digital, graphic and oil-painting-based, creating a surreal and hypnotizing landscape, while the main narrative thread offers plenty of real-world metaphors without condescending to kiddie sentimentality.
  9. (500) Days of Summer
    Ultimately, the best thing about (500) Days of Summer isn't its gimmicky script. It's the constant performance of Gordon-Levitt, who shifts, scene-by-scene, from moments of ebullience to abject dejection.
  10. Me and You and Everyone We Know
    Will make you glad to be living on the same planet as Miranda July.
  11. Spencer
    Spencer works best when Princess Diana gets to be wickedly alive – playing a game with her sons, joking with Hawkins on the beach. When Stewart is given permission to play a person, not a dynasty, she offers up some of her best work yet.
    • 76 Metascore
    • 100 Critic Score
    The Image Book
    The Image Book is worth seeing if only as an aesthetic experience – to let its images and sounds wash over you – while also offering itself up as an object to reflect on.
  13. The Secret Lives of Dentists
    The climax, however, is far superior here, open-ended and ambiguous and neatly linked to this film's recurring metaphor: Teeth, of course, which "outlast everything," which survive the death of the body just as marriage can survive the demise of love. They both endure, yellowed and rootless.
  14. Natasha
    Natasha is, in fact, a deceptive and delicate coming-of-age piece – deceptive because it exposes a troubling underside, delicate because it does so with a measured and quiet intelligence.
  15. House Party
    Because of its patently commercial instincts, this is basically a black knock-off of a popular genre. Yet, despite those instincts, and despite the sophomoric moralizing, the movie has zest. The edges are sharp; it holds our attention by holding on to the vestiges of its unique black perspective. In that sense, House Party doesn't so much sell out as buy in - there are worse faults. [11 May 1990]
    • The Globe and Mail (Toronto)
    • 76 Metascore
    • 100 Critic Score
    Safe
    Todd Haynes' Safe grips you with its air of antiseptic malevolence and leaves you gasping. You feel as disoriented as the protagonist, a young housewife suffering from 20th-century disease. [11 Aug 1995]
    • The Globe and Mail (Toronto)
  17. Stronger
    Realism will only take you so far, and Stronger eventually opts for a conventional tale of rekindled romance and resurgent resilience.
  18. September 5
    September 5 splices together its thoroughly researched dramatic recreations with the actual programming ABC aired, an initially nifty back and forth that quickly wears thin.
    • 76 Metascore
    • 50 Critic Score
    Afternoon of a Faun: Tanaquil Le Clercq
    Watching De Clercq dance is not only what Nancy Buirski’s uneven documentary does to best effect, it helps you understand the movie’s otherwise restrictive emphasis on the men who became obsessed by her, primarily her discoverer and husband George Balanchine and the dancer/choreographer Jerome Robbins.
  20. At Eternity's Gate
    The results are highly affecting – so much so, that viewers who suffer from motion sickness may find the film hard to watch. If the approach feels empathetic rather than pretentious, it’s thanks to a crucial anchor: Willem Dafoe’s subtle and humble performance conjures a pitiable van Gogh, shredded by doubt and estranged from people, yet urgently aware of his painterly vision.
  21. Obvious Child
    In truth, despite its honesty, this is a flawed little film, its low comedy never funny enough to justify its crudeness.
  22. Standing in the Shadows of Motown
    The Motown musicians today are in their 60s and 70s but they remain inspiringly colourful, funny in their stories and assured in their musicianship.
  23. Tim's Vermeer
    Johannes Vermeer is still a genius at documentary’s end but a fathomable genius, as much scientist as artist, a driven, resourceful creator whose conceptual and compositional brilliance remains undiminished by whatever techniques Jenison, Hockney and crew ascribe to him.
  24. Chevalier
    The film is made watchable by a strong cast that renders the men’s vulnerability particularly sympathetic.
  25. Witness
    Witness is satisfying on so many levels it stands with "Cabaret" and "The Godfather II" as an example of how a director in love with his medium can redeem its mainstream cliches. [07 Feb 1985]
    • The Globe and Mail (Toronto)
  26. The Secret of NIMH
    A bouncy, witty, pleasurably scary children's movie that adults will enjoy more than they may care to confess. [02 July 1982]
    • The Globe and Mail (Toronto)
  27. The Godfather Coda: The Death of Michael Corleone
    Thanks to some skillful, nuanced editing – and the forgiveness of time that comes with three decades – Coppola’s experiment is an offer you (sorry) can’t refuse. Mostly.
  28. King Richard
    Once you surrender yourself to what King Richard is doing, and what it’s not doing, that’s okay. It’s especially easy to shut up and go along with whatever rosy view the Williams family wishes to preserve because Smith is here the whole time, helping sell the story.
  29. mother!
    Mother! is an unparalleled achievement, entirely unprecedented and unexpected in this era of studio filmmaking.
  30. Trees Lounge
    Though nothing much happens in the plot, the interplay between characters is always sharply observed, with funny, off-kilter dialogue: Whether it's a clumsy pickup attempt at a bar, a couple fighting about which of them cares more about the other, or the attempt by relatives to console each other at a funeral -- while sharing lines of cocaine -- the scenes feel both spontaneous and deftly constructed. [1 Nov 1996, p.D3]
    • The Globe and Mail (Toronto)
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