The Globe and Mail (Toronto)'s Scores

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For 7,298 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 7298
  2. Mixed: 1,827 out of 7298
  3. Negative: 1,116 out of 7298
7298 movie reviews
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  1. Those Who Wish Me Dead
    Those Who Wish Me Dead is solid meat-and-potatoes fun – it knows its job, gets it done with minimal fuss and leaves its audiences full and satisfied.
  2. In the Heights
    As with other Miranda properties, In the Heights is designed to charm you into submission – and charmed you will be. You might even get up and dance. And whether that’s in the company of strangers at a theatre or in front of your indifferent pets at home, there is something to be said for a movie that can make you move.
  3. A Quiet Place: Day One
    Not much of Sam and Eric’s journey is all that compelling, or even makes sense . . . but at least they’re nudged along by Sam’s emotional support cat, easily the cutest MVP (Most Valuable Pet) since Messi the dog from last year’s Anatomy of a Fall.
  4. undertone
    The film works best when it is only Evy and her headphones on the screen, the character’s head (and ours) becoming overwhelmed by some truly impressive, singularly creepy sound design.
  5. Broker
    Broker too frequently goes broad and wide, resulting in a story that doesn’t earn the happiness that its flawed characters desire, and eventually achieve.
  6. Snow White
    This new Snow White is neither a chore à la 2023′s The Little Mermaid nor an abomination on the scale of Robert Zemeckis’s ghoulish Pinocchio redo. Whistle hard enough, and it almost sort of works.
  7. Night of the Zoopocalypse
    Zoopocalypse’s bid to revel in the kiddie-macabre space is admirable.
  8. 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.
  9. Aquaman And The Lost Kingdom
    Through design or happy accident, Aquaman and the Lost Kingdom closes out the DCEU on a mid- to high-water mark.
  10. Sharp Corner
    Canadian director Jason Buxton crafts a sometimes tense and sometimes unsteady character study that isn’t so much laced with dread as it is slathered with it.
  11. The Bikeriders
    It is an anthropological drama that never cracks its subjects open – an approach that might work on paper, but feels beset by engine troubles on-screen.
  12. Hokum
    With a tongue-in-cheek title inviting audiences to immediately dismiss its supposedly intense fear factor, Damian McCarthy’s new horror film arrives ready to play with convention and expectation. The scary thing, though, is that the movie exhausts itself halfway through, revealing Hokum as something closer to hogwash.
  13. Free Guy
    Free Guy is here, it repeatedly reminds us, to have a good time, not a long-franchise time. But there is something so overwhelmingly corporate and safe about the thing that you can see the glimmer of a brand-new cinematic universe in every twinkle of Reynolds’ dreamy hazel eyes.
  14. 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.
  15. The Room Next Door
    Ultimately, it all becomes too strained to take seriously.
  16. The Lost City
    The Lost City believes it is a lot more fun than it actually is. The movie isn’t a guilty pleasure so much as a pleasure-lite guilt trip – a relentlessly and eventually exhausting middle-ground effort that is made all the more frustrating because it is so very close to reaching the platonic ideal of shlock.
  17. Marry Me
    Quotation forthcoming.
  18. Minions: The Rise of Gru
    The Rise of Gru is the weakest entry by far. But with just enough semi-inspired moments of weirdness to skate by.
  19. C'mon C'mon
    Come for Phoenix, stay for Phoenix and maybe also Norman and Hoffman, the latter of whom bounces off of both her co-stars with a nervy charm. But everything else? C’mon.
  20. Aline
    Most impressively, Lemercier manages to make Dion/Aline’s not-terribly-dramatic hardships – she has trouble conceiving with her husband, she misses her family while on the road, she feels exhausted by her Las Vegas schedule – feel relatable and compelling. Part of that is Lemercier’s full-throttle commitment to the bit.
  21. Gaza Mon Amour
    With one foot in lighthearted romantic comedy and another in also-light political commentary, Gaza Mon Amour never takes a wrong step, exactly, but also feels ambivalent about its final destination. And if that tortured metaphor doesn’t work for you, then the essence of the film, directed by twin brothers Tarzan and Arab Nasser, might feel just as wobbly.
  22. Posse
    Posse wants to be a 'classic Western' but its definition of classic is consistently cliched. Yet it has such grace and such an abiding belief in its message that you can't help but smile approval. [14 May 1993]
    • The Globe and Mail (Toronto)
  23. 28 Years Later: The Bone Temple
    28 Years Later: The Bone Temple doesn’t quite live up to the earlier film’s promise. At best, it’s an ambitious and compelling enough staging ground biding time, with cruel violence more stomach-turning than ever, as it sets up the already-in-the-works final chapter in a planned trilogy
  24. She Said
    Along the way, the narrative does drag at times, but mainly the film slowly and steadily impresses as two excellent reporters – and two excellent actresses, Carey Mulligan and Zoe Kazan – go about their work.
  25. The Legend of Ochi
    It genuinely wants to say something important and poignant about what we lose when we stop believing in the unreal, but it cannot quite make the leap into figuring out why anybody should be inclined to listen to such heartfelt pleas.
  26. 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.
  27. Boogie
    Boogie is, finally, Huang’s cinematic realization of his dream, a debut filmmaker’s warts and all.
  28. The Penguin Lessons
    Coogan brings a delightfully sardonic deadpan to the role of the bemused bystander observing the antics of penguins, adolescents and … military dictatorships.
  29. Good on Paper
    A witty tale of deceit and betrayal, it’s an uncomfortable look at the values we tend to buy into and why.
  30. Anyone But You
    There’s a zaniness to this film that feels refreshing, a going-for-broke energy reminiscent of an Adam Sandler movie at its peak.
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