The Globe and Mail (Toronto)'s Scores

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For 7,303 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: 4,357 out of 7303
  2. Mixed: 1,830 out of 7303
  3. Negative: 1,116 out of 7303
7303 movie reviews
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  1. The First Omen
    While unable to fully deliver on the promise of its artistic potential, The First Omen remains, nonetheless, a fun, low stakes introduction for horror newbies to The Omen franchise and an enjoyable enough tribute to the original film (offering, also, a more contemporary take on visualizing the grotesque).
  2. Club Zero
    Hausner is clearly talented, and I’m all for a film without easy answers. But I wish this one was less insistently opaque.
  3. The Beautiful Game
    The Beautiful Game shines because of Nighy.
  4. Godzilla x Kong: The New Empire
    A slow and visually hideous crawl to an underwhelming brawl.
  5. Road House
    Liman makes the most of what most would assume are flaws. He leans into the simplicity and familiarity of Road House’s premise, keeping the space open for big personalities to make it cartoonishly good fun.
  6. Immaculate
    While its penultimate scene returns to its affections for shock and gore, there remains a feeling that it’s been apologetically tacked on to a final act that is, overall, lacking in any other sort of fun or thrilling narrative twists and turns.
  7. The Queen of My Dreams
    While The Queen of My Dreams works in some places, it’s too disjointed a narrative to truly immerse the viewer into the technicolor universe.
  8. Ghostbusters: Frozen Empire
    It is a fun, serviceable, family-oriented exercise in reprise that counts on nostalgia as it brings history and present day together.
  9. Hey, Viktor!
    Hey, Viktor!, a raucous mockumentary, is a mixed bag, veering wildly from self-deprecating humour and a downright cringefest to moments of heartfelt candour.
  10. One Life
    Throughout it all, Winton remains a cypher. There’s no curiosity here about him or the people he dedicated his time to. There’s no emotional journey to help us understand him and the stubborn modesty that made him so reluctant to share his story.
  11. French Girl
    French Girl’s crude and at times infantile slapstick humour is offset by livelier beats between the cast, whose cross-cultural banter is littered with flashes of genuine wit.
  12. Imaginary
    Imaginary is as dour a slog as M3GAN was a bloody bit of self-aware camp.
  13. Spaceman
    It’s Dano who floats away with the most goodwill, giving Hanus a tender, ultimately haunting air despite being, you know, a horrendously frightening creature that, in a parallel universe, might’ve inspired Stephen King to write It.
  14. About Dry Grasses
    Structured like a quietly grand novel, subtle and elliptical, Ceylan’s film unfolds with Chekhovian grace and a cutting understanding of character.
  15. Drive-Away Dolls
    A lascivious comedy that might have been produced by The Big Lebowski’s fictional pornographer Jackie Treehorn were he given far too much money, Drive-Away Dolls proves that there is a yawning gap between “a Coen Brothers film” and a “film by a Coen brother.”
  16. Dune: Part Two
    In terms of pure spectacle and shock-and-awe achievement, Villeneuve has produced an adaptation of mad glory and power.
  17. Concrete Valley
    Sensitive and intimate might be the obvious adjectives for such a film, but Bourges is also intent on making Concrete Valley quite funny in parts, the humane humour balancing the ever-present anxiety that exists in many of Thorncliffe Park’s hallways and crowded elevators.
  18. Bob Marley: One Love
    Although One Love is not a great music biopic, it serves as an acceptable portrait of the man.
  19. Land of Bad
    Once Land of Bad establishes its stakes – one man versus an army – the film settles all too comfortably into war-machine territory, minus any particularly inventive kills or sense of style.
  20. The Taste of Things
    If you can appreciate the simple concept of nourishment – of the stomach, and of the soul – then you will walk away delightfully stuffed.
  21. Madame Web
    Stupendously stupid and never remotely in control of its faculties, the film represents a kind of weaponized incompetence, hostile and assaultive.
  22. The Promised Land
    Ultimately, The Promised Land is a testament to not only the resilience of Denmark’s agricultural homesteaders . . . but also to the fierce power of Mikkelsen’s presence.
  23. Lisa Frankenstein
    While Williams isn’t quite as adept as Cody’s other all-star collaborators, her debut film is funny, cinematic and memorable.
  24. Argylle
    One of the most chaotically stupid action movies to torture audiences in ages.
  25. Orion and the Dark
    Brought to life with a smooth and almost restrained kind of animation – all rounded edges and frames designed to breathe, rather than hyperactively cram in as much action as possible – and paced with a confident speed, Orion and the Dark will charm and entrance.
  26. Four Daughters
    As unflinching as it is empathetic, Four Daughters is the best and slipperiest kind of film, whether you want to label it a documentary or not.
  27. Attila
    In terms of understanding and confronting the harsh reality that so many Canadians endure today, Attila is remarkable, verging on essential, filmmaking.
  28. Origin
    While Ellis-Taylor is, as always, magnetic onscreen, Origin fails her talents, as well as both its characters and story, by reproducing the flaws of Wilkerson’s book with a stoic conviction.
  29. Memory
    Chastain and Sarsgaard find all the pieces of Franco’s Memory worth saving, and proceed to connect with one another to build something that is new, remarkable, affecting. Hard to forget, even.
  30. I.S.S.
    A movie so dumb that it has tricked itself into thinking it is smart enough to be self-knowingly stupid, the new astronaut thriller, I.S.S., is a true waste of inner and outer space.
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