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. Beginners
    Ultimately, the result is identical to Mills's debut effort in "Thumbsucker." Once again, clever insight vies with misty-eyed sentimentality, honesty with artifice, real humour with bogus gravity, the genuinely affecting with the merely quirky. But "Thumbsucker" was at least a promising start; Beginners is just a frustrating continuation.
  2. The Art of Getting By
    The Art of Getting By is distinguished by a dullness that's almost akin to being in high school again.
  3. Mr. Popper's Penguins
    By happy coincidence, their names – Bitey, Loudy, Stinky, Lovey and Nimrod – pretty much double as a plot summary.
  4. Green Lantern
    What gets sacrificed on the altar of this new franchise launch is any real sense of fun.
  5. Submarine
    One of the most irresistible films of the year so far.
  6. Judy Moody and the Not Bummer Summer
    Brings on a wave of nostalgia accompanied, unfortunately, by a great big yawn that will surely be experienced by parents hoping for a spark of irreverence à la Pippi or the broad comic appeal found in most theatrical family fare these days.
  7. Super 8
    All the kids here are terrific, significantly better than the actual movie that surrounds them. Although ostensibly fashioned by Abrams, it's really a summer-weight Spielberg yarn.
  8. The Princess of Montpensier
    Swords cross, blood spurts and bosoms heave in The Princess of Montpensier, French director Bertrand Tavernier's thoroughly ravishing drama.
  9. Midnight in Paris
    Certainly, his (Allen) work here feels effortless, and that feather-light touch gives the picture its charm – modest but real.
  10. X-Men: First Class
    That's partly why X-Men: First Class is such fanboy fun, as the script departs from official Marvel lore to invent a whole new "origin story" for the mutant ensemble.
    • 63 Metascore
    • 63 Critic Score
    L'amour fou
    Despite its name, L'Amour Fou, a documentary about the late fashion genius Yves Saint Laurent and his partner Pierre Bergé, is not entirely a love story. Really, it's a story of loneliness and loss.
  12. Kung Fu Panda 2
    There just isn't the same zingy rapport. Seth Rogen's praying mantis and Jackie Chan's monkey have no more than a dozen lines between them. Even Jack Black's Po is more subdued.
    • 44 Metascore
    • 50 Critic Score
    The Hangover Part II
    Undeniably funny in parts, but the salacious spark and brilliant pacing of the original is off.
  14. Last Night
    Last Night is a New York morality play: A film in love with (lower) Manhattan that is suspicious of real romance. What it lacks is Allen's sense of horseplay; his appetite for lunatic adventure. When you take a bite of the Big Apple, you're not supposed to nibble.
  15. Forks Over Knives
    A middling documentary but a magnificent indictment.
  16. The First Grader
    This is potentially compelling, but truncated flashbacks are far too crude a mechanism for exploring not only the intricacies of that tumultuous period in Kenyan history but also its ongoing legacy.
  17. Pirates of the Caribbean: On Stranger Tides
    Judi Dench is much more of a challenge. Drenched in powder and pomp, the grand old Dame pops up in a London carriage. She's there in a flash and then, as quickly, gone, and her fleeting presence is exactly like the fleeting merit of this fourth galleon in the portly franchise: It prompts stirrings, not quite all the way to feelings.
  18. Potiche
    Without its star, this picture would float off forgettably into the ether.
  19. Meek's Cutoff
    En route, what emerges is the kind of film, rich in paradox, that's common to Reichardt but so rare anywhere else – a film ponderously slow in pace yet kinetically charged with insight; starkly realistic yet allegorical too; psychologically astute yet politically resonant.
  20. The Strange Case of Angelica
    An uneven but intriguing piece of whimsy that veers from powerfully symbolic cinematography into self parody.
  21. Meet Monica Velour
    Poor Cattrall is caught in a script that, much like the white teddy, is an impossibly tight squeeze, obliging her to hit the farcical laughs while still playing the cellulite realism.
    • 75 Metascore
    • 75 Critic Score
    Bridesmaids
    Like Apatow's best work, this is about friendships – only this group of loveable misfits wear matching purple gowns.
  23. Even the Rain (Tambien la Lluvia)
    It's all a bit too schematic, yet the ambition is admirable and the message powerful: Today, no less than yesterday, the weak must be strong to survive, and their strength is endlessly tested.
    • 66 Metascore
    • 63 Critic Score
    POM Wonderful Presents: The Greatest Movie Ever Sold
    The problem is that the film, despite an attempt to examine the intellectual pollution of pervasive marketing, can't help coming off as one big smirk.
  25. The Bang Bang Club
    Ultimately, his (Silver) film settles for a queasy mix of high-toned intentions and commercial compromises.
  26. Something Borrowed
    The sisterhood is already grumbling about a movie that suggests women will happily choose a mate over friendship, but actually it's the stereotypes of good behaviour rather than bad that bring this rom com crashing down.
  27. Jumping the Broom
    Jumping the Broom also benefits from a great soundtrack (Al Green, Aretha, El DeBarge, Curtis Mayfield).
  28. The Beaver
    Clearly, the screenplay is looking for some black comedy here, but Foster's direction is too earnest to locate it.
  29. Thor
    Alas, the news is mixed: Thor ain't much of a movie but it's a great career move. Both movie and move belong to director Kenneth Branagh.
  30. Hobo with a Shotgun
    In its mocking but acutely observed style, Hobo is a well-designed cinematic mess: There are whiplash jump cuts, patches where the sound almost disappears, and the whole thing is projected in a queasy, faded Technicolor.
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