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 Good Boss
    Bardem gives the kind of stately, anchoring performance that can just about make up for any shortcomings the film might otherwise face.
  2. Three Thousand Years of Longing
    Miller’s go-for-broke visuals and his stars’ fiercely committed work allow Three Thousand to speed by on wit, energy, and gushy, bleeding-heart passion.
  3. Crimes of the Future
    Crimes of the Future is a dirty little thing because it dives deep into the muck of humanity, where Cronenberg finds a perverted pleasure in the absence of pain. Every millimetre of this film is filthy, decayed, polluted. And thank god for that.
  4. The Black Phone
    The Black Phone is an enjoyable watch, for sure, but it lacks a certain agility, which keeps it from being as great as we want it to be.
  5. Official Competition
    This Spanish-language satire of the film industry, from the Argentinian duo Mariano Cohn and Gaston Duprat, is one big and delightful inside joke for the art-house aficionado.
  6. Mr. Malcolm's List
    Luckily for us, the flawed but charming Mr. Malcolm’s List has Indian actress Freida Pinto as a winsome romantic lead, finally receiving her flowers in a perfectly matched role.
  7. Vengeance
    There are occasional moments when the film is so close to feeling like it is accomplishing its goals – to be seen as a sharp and comedic critique of the cost of storytelling, with a fun little whodunnit at its core – but it never quite gets there.
  8. Prey
    Prey is exactly the type of late-summer nastiness that deserves to be enjoyed with fellow hooters and hollerers. But by this point, Predator fans are used to playing the victim.
  9. Easter Sunday
    It’s disappointing that the film takes that well-worn trope of a big family get-together and just lazily adds a Filipino layer to it.
  10. Emily the Criminal
    Ford’s film cannot be entirely discounted – the director knows a star when he sees one, and seems to retroactively contort his screenplay around the talents of Plaza as much as he can. The actress makes Emily’s plight seem relatable, unrelenting and never ever precious.
  11. Bodies Bodies Bodies
    An energetic, cockeyed, bloody, and sometimes delightfully vicious skewering of Millennial culture – or, more accurately, what Instagram-less tsk-tsk’ers imagine millennial culture to be – director Halina Reijn’s new film exists not only to meet late-summer slasher expectations, but to ever so slightly subvert them.
  12. Day Shift
    The scriptwriters did Perry no favours. Lengthy swaths of dialogue are consumed by tedious exposition on vampire types and the ways they can be killed.
  13. Sharp Stick
    At its best points, Sharp Stick functions like a cinematic mixtape of every Taylor Swift song, presenting romantic clichés and immediately pulverizing them into dust. At its worst points, Sharp Stick is a twee, porn-ified Napoleon Dynamite, humiliating the very heroine who we should empathize with the most.
  14. Beast
    It’s an edge-of-your-seat crowd-pleaser that cares enough to develop its story world and characters just as well as its jump-scares and tension.
  15. The Territory
    Pritz has managed to make this often abstract and far-away subject feel anything but removed. It’s urgent, desperate and terrifying and the words of the Uru-Eu-Wau-Wau ask us not to look away.
  16. Country Gold
    It’s the tortured artist trope, handled in unexpected ways.
  17. Nope
    While the tone and feel of Nope is wonderfully atmospheric and expansive, it also feels as if it comes at the expense of characters possessing deep interior lives or a story world that is well and evenly plotted.
  18. I Love My Dad
    The director fumbles frequently, but at least he is confident enough in his uneven vision to push through all (warranted) doubts and deliver a story that is every bit awful as it is uncompromising.
  19. Luck
    Burdened with a needlessly complex conceit, flat character design, limp jokes, and a soundtrack completely absent a single ear-worm (unless you count an overreliance on Madonna’s Lucky Star), Luck feels dredged from the bottom of Pixar’s few lows (Cars comes to mind) than plucked from its many highs (Inside Out would like a word).
  20. Bullet Train
    Bullet Train’s biggest weapon, of the secretly funny variety, rests in the chiselled form of star Brad Pitt, who once again proves that he is as charming a buff-and-tough movie god as he is a wry, self-deprecating comedy star.
  21. Resurrection
    The filmmaker is obviously toying with what horror films can be, with what audiences expect of both cheap thrills and high-priced performers. But I can’t admire, and don’t take much pleasure in, being tossed into Semans’s cinematic sandbox along with his well-compensated cast and crew.
  22. Thirteen Lives
    When Howard focuses on the head-scratching mechanics of the mission itself, Thirteen Lives excels – and its many claustrophobic underwater scenes likely play excellently inside the confines of a darkened theatre. But by the time we’re in pure rescue mode, it is almost too late. What should be the highest of high-stakes dramas arrives with a drippy thud.
  23. Hallelujah: Leonard Cohen, a Journey, a Song
    It is a rare song that deserves its own book, but Hallelujah is one of them. The story is a doozy.
  24. Persuasion
    If I may persuade you, however: Watch the film for whimsy. Read the book for passion.
  25. Fire of Love
    While Dosa has a talent, and perhaps a fascination equalling her subjects, for illustrating the hidden beauty of the natural world, she ultimately crafts a film that is too neatly packaged.
  26. The Gray Man
    This is flat, flaccid action that makes the wan green-screenery of the MCU look like the delirious highs of Mad Max: Fury Road.
  27. Where the Crawdads Sing
    The film is neither heartbreaking nor thrilling, often feeling like a blown-up version of a Hallmark flick-of-the-week, its ambitions far greater than its capabilities.
  28. Mrs. Harris Goes to Paris
    The bargain-basement knock-off of this movie, minus Manville and Dior, would not look out of place on Lifetime or Hallmark.
  29. Fourth of July
    This film is a dud all on its own, a watered down Woody Allen facsimile that is long on F-bombs and short on wit, with an internal logic that falls apart with barely a half-cocked glance.
  30. Thor: Love and Thunder
    Ultimately, Thor: Love and Thunder will leave you feeling sad, empty, deadened. Which is what frequently happens in the MCU these days – it is an enterprise built with an Axl Rose-sized appetite for destruction, but no stomach for genuine risk or imagination.
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