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 2.9 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. The Boys in the Boat
    The Boys in the Boat is a film made with such a gently dull spirit that you cannot help but wonder if Clooney put himself to sleep during production. Someone get this man a Nespresso.
  2. Poor Things
    So much of Poor Things, both in its conception and maturation, feels self-satisfyingly provocative instead of imaginatively profound.
  3. Into the Weeds
    Through deft editing and a keen sense of detail, Baichwal manages to compress the case of Johnson vs. Monsanto Company into a superbly paced, tightly wound thriller.
  4. The Boy and the Heron
    It is tender, true and – depending on your interpretation, or understanding, of the finale – intensely heartbreaking.
  5. Eileen
    The performances nearly save the film from itself.
  6. Wonka
    Chalamet seems to be a Gene Wilder fan / But he can’t live up to the original candyman / He’s flat, and he’s grating, and he can’t sing a tune / The heartthrob is best off on the sands of Dune.
  7. Maestro
    As intense and rigorous and thoroughly impressive a work Maestro is, the triple-threat Cooper cannot quite summon the nerve, or verve, to go completely off-book.
  8. Silent Night
    Silent Night is all needlessly protracted foreplay, a true “when are they going to get to the fireworks factory?” tease of an action movie. And when Woo finally does light things up with only 15 minutes to go, the result is a limp pop of sparks, easily extinguishable.
  9. Monster
    While the split-POV conceit initially begs comparisons to Rashomon, Monster’s three perspectives are not so much in argument with one another as they are pieces of the same puzzle. And once they are locked together, the final portrait is staggeringly heartbreaking.
  10. Dream Scenario
    This is the chef’s-kiss premise of the new dark comedy Dream Scenario, a thoroughly imaginative and mostly brilliant movie from Norwegian director Kristoffer Borgli that is easily the best thing – real or otherwise – that Cage has starred in for ages.
  11. Napoleon
    For Napoleon, Scott gives every last little slice of himself – the dramatist, the set-piece strategist, even, and especially, the comedian – to deliver what just might be his late-career masterpiece.
  12. Wish
    The animation also feels half-caught between inspired and derivative . . . Thank goodness, then, for the songs.
  13. May December
    This is a juicy, outré exercise that gets its kicks from booting its audience into deliberately uncomfortable corners and then leaving them there to stew.
  14. Next Goal Wins
    The talented performers are ultimately overmatched by a janky script that telegraphs every emotional swerve and narrative beat as if audiences are not to ever be trusted.
  15. The Marvels
    The Marvels is just that kind of production, a white board of sticky notes that magically coalesces, slowly and grudgingly, into a feature-length motion picture that merely acts as a long advertisement for the next.
  16. The Hunger Games: The Ballad of Songbirds and Snakes
    While Lawrence and his producing partners got deserved flak for breaking up Collins' third novel, Mockingjay, into two films, they've learned the wrong lessons here, compressing what should have been either two films or a miniseries into one excessive production.
    • The Globe and Mail (Toronto)
      • Posted Nov 9, 2023
  17. The Holdovers
    There is a joy watching interesting people change for the better while in a carefully crafted environment . . . and Payne knows just how to balance the sour and sweet.
  18. Priscilla
    Priscilla the movie is as complicated and beguiling as Priscilla the woman.
  19. Pain Hustlers
    There is no guts to Pain Hustlers’ try-hard gonzo-ness, resulting in a sub-Scorsese style that both underlines and loses its point.
  20. Freelance
    Too tame in its violence to be thrilling, too flat in its gags to be funny, and too PG-minded to be genuinely sexy, Morel’s film arrives and exits like a mild breeze – totally and utterly forgettable. John Cena deserves better. And so do we.
  21. The Killer
    This is David Fincher’s version of a sitcom: as violently funny as it is hilariously violent.
  22. The Delinquents
    Moreno avoids putting too fine a point on just why he’s playing around with such matters of multiplicity. His film is both a provocation and a shrug – make of it what you will.
  23. The Mission
    Anthropologists, former missionaries and Chau’s friends offer valuable perspectives – and prompt viewers to examine their own roles in perpetuating ages-old saviour complexes. The Mission’s message is as timely as it is timeless, tragically.
  24. Nyad
    Perhaps fittingly, the directors’ big foray into Hollywood is saved by the star power of the two industry legends headlining the film. Bening and Foster are absolute delights from beginning to end.
  25. Anatomy of a Fall
    Huller is asked to play a wonderful mess of contradictions – and the actress pulls off the job marvelously, all steel nerves and darting eyes.
  26. Dicks: The Musical
    Demanding a full audience of sickos to unlock the film’s true communal madness, Dicks: The Musical is destined for midnight-movie deification. Worship its transgressive power, or denounce it as unholy. The film thankfully offers no in-between.
  27. Killers of the Flower Moon
    This is a master artist putting a stamp on not only his own career, but also the entirety of American cinema and, why not, American history, too.
  28. Foe
    There is an unshakable and electric hum to Foe that ensures director Garth Davis’s work will stay with audiences attuned to its distinct frequency for days, months, perhaps ages.
  29. The Royal Hotel
    The fact that The Royal Hotel keeps its audience as captive as its leads until that final moment is an impressive and ultimately incendiary feat.
  30. The Exorcist: Believer
    Even though the latest horror-franchise resurrection from intellectual-property gravedigger David Gordon Green (Halloween) isn’t sullying a spotless brand, The Exorcist: Believer still reeks of sulfur-scented soullessness. The moviegoing body may be willing, but the cinematic flesh is weak.
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