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 3.2 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. Definition Please
    There is much to appreciate about Definition, Please, including its indie aesthetic. It’s a welcome addition in redefining the diasporic experience.
  2. Wheel of Fortune and Fantasy
    Each of the three short stories making up Japanese director Ryusuke Hamaguchi’s new omnibus film Wheel of Fortune and Fantasy could stand on its own as a work of top-tier drama. Yet when stitched together, with the themes of coincidence and kindness being the only real connective tissue, the narratives spin themselves into something just shy of cinematic profundity.
  3. The Tender Bar
    At this point in his career, Clooney is more than a seasoned director, yet The Tender Bar lacks any artistic vision. We’re left with the type of movie that you snooze through on a Sunday afternoon – or in a high-school English class.
  4. The 355
    The 355 is enjoyable, go-lady nonsense that eventually exhausts itself with its ambitions to be more. It’s like watching a woman have a furious argument with herself about a man who doesn’t love her enough, only it’s about spy movies.
  5. American Underdog
    American Underdog is a film so disjointed, so boring and so deeply uninspiring that it is difficult to root for anyone, or even think of Warner as a genuine underdog.
  6. A Journal for Jordan
    There is a specific tone to films scheduled for a holiday release – in short, they’re corny. And while that’s not always a bad thing, this year’s yuletide flick, A Journal for Jordan, feels particularly dated and often times emotionally cloying.
  7. The Lost Daughter
    In The Lost Daughter, Gyllenhaal isn’t interested in judgment, only truth. Every decision she makes is exactly the right one. Her three lead actresses have never been better, and casting Buckley as the young Colman is particularly inspired. It doesn’t matter that they don’t look alike – they share a crucial essence.
  8. Writing with Fire
    I’m fascinated by these women who cover dangerous ground – treading centuries of patriarchy and caste prejudice with measure and grace.
  9. Sing 2
    Given the number of songs worked into the script, there’s a music video quality to the film. If you’re looking for some lighthearted distraction from the worries of the world right now, however, give Sing 2 a shot.
  10. The Matrix Resurrections
    A weird, hilarious, romantic, messy, violent and upsetting manic spectacle, Lana Wachowski’s sequel-reboot-remake encapsulates every emotion of this supremely messed up year.
  11. The Tragedy of Macbeth
    There is as much wit as there is wretchedness, the director having no trouble finding the human comedy scratching beneath the title tragedy.
  12. Being the Ricardos
    With some deft trimming, Being the Ricardos could be a fine HBO Sunday night movie “event,” as they used to be (or still are?) called. But as it is, this is less a cinematic thing and more an elaborate joke without a kicker. As Lucille Ball might say: waaaaaaaah.
  13. Licorice Pizza
    A comedy, a drama, a romance, a memory, Licorice Pizza is the director’s warmest and fuzziest creation.
  14. The King's Man
    A tonally wild and historically, um, loose First World War thriller, The King’s Man arrives as a head-scratching mess of bewildering ambition and outrageous style.
  15. Red Rocket
    There is a sincerity here that sticks.
  16. Spider-Man: No Way Home
    What I can say, without angering (almost) anyone, is that Spider-Man: No Way Home is both a gigantic act of franchise-mad hubris, and a ridiculous amount of fun.
  17. Nightmare Alley
    Some moviegoers will be repelled – there was only a smattering of light applause during the film’s Toronto premiere, which was filled with audiences who likely leapt to their feet at the end of The Shape of Water – but it is as effective a nightmare as Del Toro has ever conjured.
  18. Agnes
    From the cult Oklahoma director Mickey Reece, the horror film Agnes is funny – both funny ha-ha (in sly ways) and funny-peculiar all around.
  19. Don't Look Up
    Conceived as a climate-change metaphor, but given an oily new layer thanks to the pandemic, the film’s conceit could be sharply effective, in careful hands. But McKay knows only of punching down with meaty fists, so the result is a messy, smarmy assault.
  20. The Hand of God
    There is something magical in Sorrentino’s tender, flawed familial portrait that risks social taboos. I’d rather watch something beautiful and dumb vying for real emotional truth than the woke-est and most sanitized cinema, which only wants my approval. The Hand of God is a sprawling, gorgeous mess, but one you can’t look away from – and it might just break your heart.
  21. The Souvenir: Part II
    The final shot is one of the most poignant images I’ve ever seen.
  22. West Side Story
    Here is a glorious and genuine movie-movie: a vivid, sweeping, beautiful piece of top-tier pop-art. You will leave the theatre swooning, in love with the biggest kind of big picture.
  23. Wolf
    More an extreme theatre-school exercise than a substantive act of filmmaking, the new drama Wolf is one wild, rabid mess.
  24. Benedetta
    While Benedetta the woman may have been touched by Heaven or cursed from Hell or neither, Benedetta the film is undoubtedly a miracle.
  25. Julia
    With a plethora of archival material and strong interviews, this documentary argues that the exuberant Julia Child was a protofeminist who invented the profession of TV chef as she introduced the notion that food should taste good to the land of the Jell-O salad.
  26. The Unforgivable
    Drawn, taut and nearly silent, Bullock convincingly creates a shell of wariness and self-protection, and then gradually lets it crack.
  27. House of Gucci
    House of Gucci is a movie about a family at war with itself – yet Scott’s film is engaged in its own distracting skirmishes, with battles messily waged over tone, genre and performance.
  28. Bad Luck Banging or Loony Porn
    There is almost zero chance that this film escapes the festival or art-house circuit to become a mainstream cultural artifact – its sexually explicit material all but guarantees it – but Jude’s work is an almost profound act of high-wire lampoonery that deserves to be seen and debated far and wide.
  29. Drive My Car
    Drive My Car is a beautiful and mellow ride, although you’ll need to stretch your legs after it ends.
  30. C'mon C'mon
    Come for Phoenix, stay for Phoenix and maybe also Norman and Hoffman, the latter of whom bounces off of both her co-stars with a nervy charm. But everything else? C’mon.
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