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. She Came to Me
    She Came to Me is overstuffed to be sure, but in an admirable way that underlines Miller’s fierce desire to enchant and entertain an audience looking for stories about people, not intellectual property.
  2. Fair Play
    The film is neither a stern lecture nor cheap entertainment, with Domont instead threading the needle somewhere in-between to create a tense guessing game of just how far she will push her characters.
  3. Flora and Son
    If you can walk away from a movie with a tune in your heart and a bounce in your step, then it’s safe to say that the film clicked in just the ways that were intended.
  4. The Creator
    The homages that Edwards and his co-writer Chris Weitz make are honest, and instead of stealing the best ideas of other films, The Creator uses them as the source code to create a next-generation story that is pure, foot-on-the-gas entertainment.
  5. The Last Voyage of the Demeter
    When it does get fun and gory, the moments end too quickly but provide enough gore and a few jump scares to leave you satisfied.
  6. Strays
    With what is clearly Perrault’s first feature script, the stars here struggle to keep up their energy in what adds up to be 93 minutes of crude jokes.
  7. Blue Beetle
    Representation is the crutch this latest limp and derivative comic-book movie leans on – a reason for critics and audiences who want to champion diversity to simply overlook how dull and hideous-looking this latest franchise (of many) is.
  8. Golda
    Most of Nattiv’s film is a dry and frustrating affair.
  9. Gran Turismo
    Gran Turismo can never rise above its stakeholder’s portfolios because it’s never interested enough in its human characters.
  10. Dreamin' Wild
    That feelgood story of a long dormant musical dream finally realized was enough to earn major press attention, but is it enough for a feature-length film? Probably not, which is why writer-director Pohlad piled on the melodrama and leaned into clichés.
  11. Expend4bles
    The problem is that for all its R-rated ambitions, none of the kills in Expend4bles is particularly inventive, memorable, or even base-level fun. For a movie centred on the cathartic pleasures of mercenary murder, the only death wish that audiences will walk away muttering is one directed straight at the screen.
  12. Dumb Money
    Like the stock market itself, there are peaks and valleys.
  13. A Haunting in Venice
    By the time the deep dark truth about the mysterious case is revealed – in a series of twists that are more “agh” than “aha” – even the hardest core of Christie fans won’t be itching for a fourth Poirot go-round from Branagh. Which will not only benefit audiences but also the filmmaker himself.
  14. The Equalizer 3
    The film’s central problem is that it takes Fuqua forever to make the inevitable happen, and when he gets around to it, the entire set-piece arrives with all the refined taste of an overcooked noodle swimming in a bowl of ketchup.
  15. Shortcomings
    With the framing of doorways and windows, walk and talks and medium shots that let the streetscapes seep in, Park’s thoughtful direction helps to evoke the panels and pacing of Tomine’s work.
  16. Teenage Mutant Ninja Turtles: Mutant Mayhem
    Mutant Mayhem is a giddily fun and relentlessly eye-pleasing rebranding for the Turtles, which, like the Spider-Verse movies, mixes up daring and inventive animation styles while embracing visual imperfections as part of its soulful artistry.
  17. Haunted Mansion
    Simien is no doubt a talented storyteller – his work on Dear White People, both the film and Netflix series, is evidence enough. But his vision here is clouded by corporate obligations and a woefully weak script by Katie Dippold, who herself is much funnier in every one of her other projects.
  18. Talk to Me
    Although the movie’s energies dip slightly toward its end, when Mia’s plan to rid the world of the cursed hand requires superhuman acts of strength and derring-do, Talk to Me delivers a series of slash-and-burn shocks that last far longer than 90 seconds.
  19. Oppenheimer
    Once it clicks – and it will – the film burns hard, fast and blindingly bright.
  20. Barbie
    This Barbie is a modern movie masterpiece that must be seen to be believed.
  21. Afire
    The dramedy of manners is as rich and rewarding an experience as any of Petzold’s more ambitious films. Afire arrives like a calm wind, and leaves with everything and everyone perfectly scorched.
  22. Theater Camp
    Regrettably, Theater Camp doesn’t have a wide enough scope to zoom out from its extremely specific landscape to turn its inside jokes outward, nor an ironic enough detachment from the material that it’s riffing on.
  23. Mission: Impossible – Dead Reckoning
    At nearly every turn, Dead Reckoning aims for something more than the sum of its Evel Knievel parts. In an already strong year for breakneck, throat-kick, punch-out cinema, this adrenaline-pumped fever dream from Cruise and his regular enabler-slash-director Christopher McQuarrie represents a brutally thrilling action-film apotheosis.
  24. Joy Ride
    Joy Ride is as fantastically filthy as they come, providing enough glorious gags about gagging to carry audiences through the cold, hard winter to come.
  25. Indiana Jones and the Dial of Destiny
    There is only one Spielberg, so the result is an adventure that sands away the edges of its own taste for danger, with the destination – those gobs of cash – mattering far more than the journey.
  26. No Hard Feelings
    No Hard Feelings tries so very hard to shock – to score that collective audience gasp – that it ends up clutching its own pearls.
  27. Asteroid City
    Asteroid City proves, once again, that there is so much more to the filmmaker than casual detractors assume.
  28. Transformers: Rise of the Beasts
    If we’re ranking those films, the latest lands somewhere between the ‘80s-set prequel Bumblebee and Michael Bay’s 2007 original, which is pretty much as good as it gets. Rise of the Beasts splits the difference between the former’s Steven Spielberg-light likeability and the latter’s alternately thrilling and mind-numbing spectacle.
  29. The Blackening
    Even if its cultural and artistic stakes remain relatively low in the grand scheme of things, The Blackening – whose enjoyment absolutely lies in the fact that it both knows exactly the confines it’s working within and doesn’t take itself too seriously – is still a hell of a good time.
  30. The Flash
    This is spaghetti-brained moviemaking, more interested in goosing empty-calorie nostalgia than telling an original or thrilling story.
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