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. Oppenheimer
    Once it clicks – and it will – the film burns hard, fast and blindingly bright.
  2. Barbie
    This Barbie is a modern movie masterpiece that must be seen to be believed.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. Asteroid City
    Asteroid City proves, once again, that there is so much more to the filmmaker than casual detractors assume.
  10. 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.
  11. 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.
  12. The Flash
    This is spaghetti-brained moviemaking, more interested in goosing empty-calorie nostalgia than telling an original or thrilling story.
  13. Elemental
    Heartfelt in tone, imaginative in scope and rendered with a seemingly endless well of aesthetic wit, the romantic-comedy is a worthy addition to the Pixar canon … until the characters start speaking.
  14. Past Lives
    This is a film containing oceans of truth, centuries of longing and vast feelings of open-hearted tenderness.
  15. The Boogeyman
    There are jump-scares aplenty, and a great deal of barely visible shots of its monster, culminating in a full-on creature reveal that’s nicely gross. The characters are sketched out just enough to make you care whether they live or die, with solid performances from all involved, including a rare star turn from Messina.
  16. Spider-Man: Across the Spider-Verse
    Into the Spider-Verse was almost a chore to keep up with, albeit a joyful one. Its superb sequel, Across the Spider-Verse, keeps up that momentum, goes further with the artistry and is perhaps even more rewarding. Like any great sequel free from the legwork of setting things up, this one is more contemplative and soulful.
  17. Kandahar
    The dialogue is to the point without being eye-rolling, the action is meaty and mostly CGI-free (the highlight is a night-vision firefight) and the performances are committed, even touching.
  18. You Hurt My Feelings
    Nearly every performance here is excellent, a beautiful balance of nerves and neuroses.
  19. The Little Mermaid
    A thoroughly pointless cash grab of a thing, this new Little Mermaid is one of the most uninspired films to slither out of Disney since the company started raiding its own vault.
  20. Master Gardener
    In Schrader’s strong, meditative hands, everything gels together to create an entrancing work that is serious and, very nearly, profound.
  21. Fast X
    If family is everything to the Fast & Furious films – as lead lunkhead Vin Diesel would surely posit – then Fast X is a nuclear family reunion that goes atomic.
  22. Mafia Mamma
    Wasting Collette’s comedic talent and Monica Bellucci’s commanding onscreen presence, the film takes what could be a subversive comment on female rage and turns it into slapstick, failing to give any character enough dimension to warrant spending 90 minutes with them.
    • 84 Metascore
    • 80 Critic Score
    Are You There God? It's Me, Margaret
    Director and screenwriter Kelly Fremon Craig does not mess this up. She has created a film that is true to the book’s heart, but is also its own thing. And it is a (mostly) wonderful thing.
  24. Geographies of Solitude
    In keeping with Lucas’s general life philosophy, Mills’s film doesn’t attempt to paint a portrait of one woman, but rather a capturing of the land that woman calls home.
  25. Book Club: The Next Chapter
    The best thing about Book Club: The Next Chapter is just seeing these remarkable actresses do what they do best. I hope Hollywood can make better use of them in the future.
  26. Guardians of the Galaxy Vol. 3
    At around the hundred-minute mark, everything in Gunn’s perfect little cinematic galaxy falls apart in a magnificently depressing fashion. It is as if the MCU higher-ups got wind of what was going down and quickly engineered a black hole of studio notes to suck the Guardians into a tesseract of meaningless set-pieces and prolonged B-plot detours.
  27. Carmen
    Carmen is a wild and unrestrained attempt to empty its director’s entire brain onto the screen, and for that it deserves recognition. But the ultimate result slips too easily between heroic effort and hot mess.
  28. Sisu
    If watching mass-murdering maniacs get absolutely destroyed on-screen is your thing – and it very much is mine – then Sisu is a perfectly depraved night out.
  29. Chevalier
    The film is all the more frustrating an experience given that it inches so close to greatness.
  30. Beau Is Afraid
    Its visual imagination is wonderfully unrestrained, compelling in its extremes even when it is so clearly indebted to every movie that Aster hoovered up to get here. Its tone is impressively steadfast in its desire to repel one moment, entrance the next. And its performances are across-the-board astounding in their commitment.
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