The Globe and Mail (Toronto)'s Scores

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For 7,293 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: 4,350 out of 7293
  2. Mixed: 1,827 out of 7293
  3. Negative: 1,116 out of 7293
7293 movie reviews
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  1. Get Him to the Greek
    What’s missing in Get Him to the Greek are the supporting characters that made "Forgetting Sarah Marshall" so engaging.
  2. The Powerpuff Girls
    One of the more ingenious and fresh surprises of the summer.
  3. The Art of Self-Defense
    The film’s calm brutality is effective. Plot-wise, some punches are telegraphed, while others are not. The satire is a spinning wheel kick I didn’t see coming. Black belts all around.
  4. Saving Face
    There's almost a perverse pleasure in watching occasionally weak performers mar an essentially sound screenplay. That's the saving grace of Saving Face -- Wu gets the hard part right.
  5. Cadillac Records
    Anyone who likes pop music or wonders how bands like the Rolling Stones got rolling will enjoy the ride.
  6. Ali
    It's not Smith's fault that the movie can't quite pry apart the man from the myth from the metaphor. The three may well be inseparable by now and, at this point in his history and ours, that's surely the way we prefer it.
  7. Twelve and Holding
    Begins audaciously but goes to extremes to assert conventional wisdom about grownup life, that what is called "normal" is about just holding on.
    • 65 Metascore
    • 75 Critic Score
    Crooklyn
    Spike Lee's Crooklyn is a charming little movie. [14 May 1994]
    • The Globe and Mail (Toronto)
  9. Alice, Darling
    Alice, Darling does so much right that it is acutely painful when it goes wrong.
  10. Drop
    Director Christopher Landon injects the entire affair with so much stylistic verve and narrative propulsion that, like the best kind of first date, it whips by almost too quickly.
  11. Magazine Dreams
    Like Majors’s chiselled physique, which is almost a special effect all its own, Magazine Dreams takes unironic pride in flexing its themes so nakedly and frequently that there’s little left to the imagination.
  12. Clerks II
    Feels a little like the new "Pirates of the Caribbean" -- a similar wet fizzle of a sequel for sequel's sake -- but what do we know?
  13. Tetro
    Tetro is Coppola's best film since Apocalypse Now because the filmmaker has abandoned conventional drama – what for him had become a straightjacket – indulging in a collage style that allows him to honour favourite filmmakers.
  14. Transformers One
    Ultimately the film struggles to balance its various commitments, with a screenplay that never seems sure of whether it wants to be a pure comedy, a lore-packed adventure or a peppy children’s film that shuffles kids straight to the toy aisle.
  15. The Black Phone
    The Black Phone is an enjoyable watch, for sure, but it lacks a certain agility, which keeps it from being as great as we want it to be.
  16. Coco Before Chanel
    This is the story of the diminutive Coco before she became the fashionable Chanel – in other words, the whole movie is one long first act.
  17. Telling Lies in America
    It's your standard coming-of-age tune set to a top-40 beat. [24 Oct 1997]
    • The Globe and Mail (Toronto)
  18. In the Fade
    Mainly the film is a tightly focused and tightly filmed neo-noir, as the script, which Akin co-wrote with Hark Bohm, neatly picks off parents and friends to leave Katja isolated enough to make her desperate actions believable.
  19. The AI Doc: Or How I Became an Apocaloptimist
    While the new doc was spurred by Roher’s own existential anxiety about what kind of AI-dominated world he would be bringing his unborn son into, the resulting film feels so determined to walk the middle road between doom times and boom times (hence its cheeky title) that its message cannot help but land as something almost algorithmically mushy.
  20. Seven
    It's intriguing, appalling, savvy, nasty, grossly unsettling -- you may not like what you see, but you'll definitely be affected by the sight.
    • 65 Metascore
    • 75 Critic Score
    The Swell Season
    The question subtly, craftily documented in The Swell Season is whether the fans or Hansard himself want to see the singer cast in this new role of success.
  22. 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.
  23. Walk on Water
    The Israeli film works best in isolated spots early on as a series of intriguing character studies. Upon reaching to become a lesson to the world, however, Walk on Water goes off the deep end.
  24. Tyrannosaur
    The principals are superb, with Mullan and Colman doing a masterful job of inhabiting their separate but equal prisons.
  25. Harpoon
    Listen carefully, and you can almost hear the enjoyably comic and nasty tone Harpoon was likely going for – before it drowned in a flood of unwatchable idiots.
  26. The End
    Clearly, Oppenheimer is an ambitious and courageous filmmaker – his chilling documentaries alone are enough to ensure his place in the pantheon. But so much of The End prioritizes purpose over execution, with the result stretched out over interminable lengths.
  27. Sex and Lucia
    Nothing in this explicit display is remotely engaging. That's because the sex is a metaphor here. In fact, most everything is a metaphor here. Or a symbol -- the picture is a veritable cacophony of jangling symbols.
  28. Grazia's Island
    Somewhere along the way, Respiro just seems to run out of breath.
  29. Sweet Dreams
    And despite the technically impressive quality of the soundtrack, the movie, directed by Karel Reisz, misses the music. [4 Oct 1985]
    • The Globe and Mail (Toronto)
    • 65 Metascore
    • 88 Critic Score
    Dim the Fluorescents
    With his debut feature Dim the Fluorescents, Toronto filmmaker Daniel Warth has created an astonishing calling card – an earnest and entertaining celebration of process and performance, not to mention a tremendous showcase for two homegrown actors on the cusp of greatness.
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