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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    • 83 Metascore
    • 75 Critic Score
    The Salt of the Earth
    This much we know: The photographer takes the picture. Less clear is the reverse process – what the picture takes back. And this, to a large and illuminating extent, is the subject of Wim Wenders’s The Salt of the Earth.
  2. The Longest Ride
    Eventful, polished, and knuckle-bitingly dull, the 10th film adapted from a novel by Nicholas Sparks, combines fate, bull riding and some powerful Hollywood bloodlines among its young cast.
  3. Glen Campbell: I'll Be Me
    Life is the collection of memories, and Campbell is losing them. But there is solace in the reality that you will not miss what you cannot recall.
  4. Last Knights
    Familiar in its outline but unusual in the details, Last Knights feels like a year’s worth of post-midnight cable TV viewing run through a blender and served warm for your viewing amusement.
  5. While We're Young
    While We’re Young is more commercial and less innovative (or whimsically self-indulgent, depending on your tastes) than Baumbach’s last feature film, 2012’s "Frances Ha," though it shares some common ground.
    • 51 Metascore
    • 63 Critic Score
    Woman in Gold
    Director Simon Curtis milks the predictable drama, thrills and heartache of the Holocaust-era story, but it’s a paint-by-numbers triumph, a copy of something we’ve seen many times before.
  7. Furious 7
    The reflection offered in the puckered muscle and polished chrome of Furious 7’s heroes feels like a cheery escapist distortion of a culture that more closely resembles the smashed steel, mangled bone and blood and vomit of a plain ol’ unsexy car wreck.
  8. Boychoir
    Hoffman’s role is an important one, but not a big one. He’s not called upon to bring a lot to the table, and, as a pro, doesn’t muscle up his part.
  9. White God
    Hackle-raising in its intensity.
  10. The Riot Club
    There’s a flicker of déjà vu seeing Max Irons step into the role of a posh Oxford University student in The Riot Club. Irons has inherited the cheekbones and silky voice of his father, Jeremy Irons.
  11. October Gale
    Clarkson is fascinating to watch, but the denouement is quick and flat. A storm blows over unexcitedly, as does this film.
  12. Get Hard
    Riding that fine line between misjudged and deliberately anti-p.c., Get Hard is lewd, crude and rude but, despite its disastrous reception at SxSW, not entirely unfunny.
  13. Seymour: An Introduction
    As for Hawke’s own filmmaking skills, it’s hard to find much wrong with this film, itself a meditation on art and the practice of craft. His touch is delicate, and let’s not worry too much if the tone is occasionally fawning.
  14. Tracers
    With escape as its theme, this thin-plotted pleaser comes hard and goes fast, its rush premium but fleeting.
  15. The Gunman
    Sean Penn smokes, glowers and shows off his knotty naked torso in this vain, risible misfire of a thriller about a reformed killer, from "Taken" director Pierre Morel.
  16. The Divergent Series: Insurgent
    In the battle between dystopian science-fiction movies about butt-kicking young heroines, the new Divergent movie, Insurgent, is actually slightly more believably glum than the third Hunger Games movie, "The Hunger Games: Mockingjay Part 1."
  17. The Search
    The French director’s follow-up to his Oscar-winning silent movie comedy, "The Artist," is everything "The Artist" was not: long, unoriginal and heavy-handed.
  18. Stop the Pounding Heart
    Stop the Pounding Heart is the last of Minervini’s “Texas trilogy,” so this isn’t his first rodeo. Indulgently, he explores a world that is near-fascinating for its insularity, but one that probably calls for photographs instead of this film.
  19. '71
    Republicans or loyalists, Catholics or Protestants – this film is not about political or religious trenches. People died, but it’s more than the bombs, bullets and bodies. The more fascinating damage was done to psyches and souls, and Demange, with ’71, comes for yours.
  20. The Hunting Ground
    The Hunting Ground’s film’s biggest journalistic “get” is the first on-camera interview with Erica Kinsman, the Florida State student who accused star quarterback Jameis Winston of drugging and raping her.
  21. Miss Julie
    The film is visually bland, with only a couple of bookending outdoor sequences around a handful of interior sets.
  22. Cinderella
    Like its titular fairy tale heroine, Cinderella is sincere, not an ironic bone in it.
  23. Run All Night
    An overqualified cast (including Vincent D’Onofrio and an uncredited Nick Nolte) brings more gravity than required to repeated “this is me staring you down” confrontations.
    • 33 Metascore
    • 38 Critic Score
    Kidnapping Mr. Heineken
    The problem with Kidnapping Mr. Heineken, which is the second movie in four years about the sensational 1983 crime (the other was a Dutch production with Rutger Hauer as the dapper snatchee), is that it follows the kidnappers out the door instead of sticking with the coolly composed man behind it.
  25. Wild Tales
    What really distinguishes it from the art-film crowd is that it’s also food-spittingly funny.
  26. The Babadook
    The Babadook is too deliberately calibrated to prove truly terrifying.
  27. Unfinished Business
    Not without charm, Unfinished Business mixes the cute with the raunchy. Penises adorably happen. But besides the schlongenfreude, there’s a subtext about how-did-I-get-here lives, and righting oneself before it’s too late. Is the star himself listening?
  28. Chappie
    A movie about a robot policeman given a childlike conscience, Chappie is one of those incongruous Franken-films that’s simultaneously bombastically brutal and treacly. Like E.T. the Extra-Terrestrial crossed with Transformers, or RoboCop starring Jar Jar Binks, it’s a recipe guaranteed to produce aesthetic indigestion.
  29. The Second Best Exotic Marigold Hotel
    Once again, a first-rate cast helps slightly elevate this sentimental Britcom.
    • 76 Metascore
    • 75 Critic Score
    An Honest Liar
    The ultimate question in An Honest Liar is whether it’s possible to know so much about the method behind the magic without being fooled into believing your own act.
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