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. She's the One
    Ultimately, She's The One is about less than it seems -- Burns is quite willing to trade off emotional credibility to an easy gag and a neat resolution. Yes, the film's apparent sensitivity comes with a high commercial gloss, but so what -- the lightness is breezy enough to cool our objections. Burns may well be an unabashed entertainer in the guise of an auteur, yet that's an awfully potent combination. Just ask a certain Woody Allen. [23 Aug 1996]
    • The Globe and Mail (Toronto)
  2. Black Panther
    Black Panther fights constantly and bitterly against the familiar constraints of Disney's superhero industrial complex. At every turn, the expectations of the genre, the bland sameness that breeds cinematic comfort for the millions who line up to fill Marvel's coffers, are met by the director with resistance and creative intensity.
  3. Anatomy of a Fall
    Huller is asked to play a wonderful mess of contradictions – and the actress pulls off the job marvelously, all steel nerves and darting eyes.
  4. The Road
    Essentially a love story, as stripped of sentimentality as the landscape is shorn of green, yet an extraordinary love story nonetheless – powerful and poignant and, even in the midst of hope's imminent extinction, hopeful too.
  5. Keyhole
    Like Maddin's melancholic and relatively more conventional "My Winnipeg," Keyhole is about a memory house, but one that is even more fragmented, mythical and elusive.
  6. Ai Weiwei: The Fake Case
    The clever and defiant Ai, who is forever filming himself and others on his phone, does in one instance capture Johnsen on camera, but mainly the doc is missing any explanation of how a dissident forbidden from giving interviews agreed to it – as well as much context about his personal life.
  7. Bowling for Columbine
    Moore continues another one infinitely more valuable -- the proud line that extends right back to Mark Twain, embracing all those satirists so enamoured with America at its best that they won't stand silent for America at its worst.
  8. Off the Rails
    His story here is well-woven, with the kind-hearted voices of psychiatrists, playwrights, family members, lawyers and the gregarious McCollum himself failing to come up with a solution on how to handle an autistic, obsessive and irresponsible rail rider.
  9. Jumanji: The Next Level
    The Next Level works precisely for the same reasons why Welcome to the Jungle did. It’s never boring, it’s genuinely funny in a way that’s family friendly but still clever, and the cast’s chemistry is outstanding – it just works.
  10. Frida
    Visually, this movie is exquisite. Narratively, well, that's a more banal story.
  11. Irreversible
    An integrated work whose form clearly mirrors its content. Often, looking into that mirror is dreadful; but, often enough, it's also dreadfully revealing.
  12. Yoo-Hoo, Mrs. Goldberg
    Well-spoken but humorously self-deprecating, Berg admits that, between the hours spent writing, rehearsing and performing, she spends more of her life as Molly than she does as herself.
  13. The Deep Blue Sea
    Happily, in his adaptation of the Terence Rattigan play, The Deep Blue Sea, Davies has found a setting close to his heart and a subject more nearly suited to his style.
  14. The Night Comes for Us
    By exploiting the raw physical power of the Indonesian martial art called silat and then emptying buckets and buckets of fake blood upon your cast for kicks, filmmaker Timo Tjahjanto has birthed a monster of a movie, as brutal as it is hypnotic.
  15. A Fantastic Woman
    In the script Lelio co-wrote with Gonzalo Maza, the lover's family may be conveniently ghastly and the authorities who investigate the death puzzlingly erratic (as the film flirts unsuccessfully with mystery), but a quietly honest centre never wavers.
  16. I Am the Blues
    Cross’s light-handed (but too long) film doesn’t romanticize or overcomprehend, choosing instead to concentrate on life’s non-choices.
  17. The Great Escaper
    The film is a slight but sweet ode to a particular flavour of Britannia that will leave its target audience in sentimental shambles.
  18. Rise of the Planet of the Apes
    The running time is efficient, the direction is clean, the story is simple but resonant, the effects are understated yet impressive, and the near-wordless star of the show puts on an acting clinic. Damned if the risen one doesn't lift us out of our seats.
  19. The In-Laws
    But uneven acting isn't fatal here, since Andrew Bergman's screenplay is strong enough and Andrew Fleming's direction seamless enough to carry it forward.
  20. Ballast
    Plot isn't what drives the picture; instead, this is a cinematic tone poem, where the dominant mood is a Faulknerian mix of sorrow and endurance.
  21. A Christmas Carol
    This time, though, Zemeckis has another technical trick up his sleeve – 3-D – and for once the gimmick succeeds.
  22. Certified Copy
    Ultimately, Certified Copy – with its unresolved loose ends – is a puzzle box without a key.
  23. Bobby Fischer Against the World
    Beyond the knights and rooks, Bobby Fischer Against the World tells the story of a Jewish kid raised in Brooklyn who spent his final years in exile as a fulminating anti-Semite and a raving anti-American.
  24. Welcome to Collinwood
    Filled with a sweet, loopy sensibility and some fresh comic turns, Welcome to Collinwood is a low-budget American film that falls into the good-but-slight category.
  25. Being Human
    Being Human is just that, and it's a profound delight. [06 May 1994]
    • The Globe and Mail (Toronto)
  26. Alice in Wonderland
    This is still her (Wasikowska’s) picture. She’s its 10-foot tower, mysterious and brave and excited and withdrawn. Alice is the true magic in a Wonderland that’s mere movie magic – the happy surprise amidst everything we’ve come to expect.
  27. Hammer
    With lesser performers, too, maybe Hammer would have felt more like a gag. Yet O’Brien, fresh off a tremendous and under-seen performance in last year’s "Goalie," radiates nervy energy like it was the most natural thing in the world, while longtime character actor Patton gives his wary patriarch an urgent, unshakable sense of disappointment and unease. It’s almost worth eating your own tail over.
  28. Nanny McPhee
    It's a brilliant opening, but the difficulty with the familiar plot formula wherein a special stranger wins over a difficult household is that once the spell has been cast, all the plot tension, and much of the movie magic, dissipates.
  29. Viva Riva!
    Martin Scorsese, meet Djo Tunda Wa Munga, because you obviously have a lot in common. Viva Riva! is nothing less than the Congolese Mean Streets, oozing sexual heat and brute violence and powered by a locomotive's worth of raw kinetic energy.
  30. Losin' It
    It is an agreeable example of how a picture conceived as "product" need not condescend to the audience it exploits. [11 Apr 1983]
    • The Globe and Mail (Toronto)
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