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. 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.
  2. 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.
  3. The Souvenir: Part II
    The final shot is one of the most poignant images I’ve ever seen.
  4. 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.
  5. Wolf
    More an extreme theatre-school exercise than a substantive act of filmmaking, the new drama Wolf is one wild, rabid mess.
  6. Benedetta
    While Benedetta the woman may have been touched by Heaven or cursed from Hell or neither, Benedetta the film is undoubtedly a miracle.
  7. 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.
  8. The Unforgivable
    Drawn, taut and nearly silent, Bullock convincingly creates a shell of wariness and self-protection, and then gradually lets it crack.
  9. 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.
  10. 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.
  11. Drive My Car
    Drive My Car is a beautiful and mellow ride, although you’ll need to stretch your legs after it ends.
  12. 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.
  13. Bruised
    Bruised is a well-directed debut: Berry understands how to make a competent sports drama complete with all the emotional training montages and passion that viewers expect. Plot-wise, though, Bruised doesn’t offer more than the genre has delivered time and time again, which is a shame because the film contains some remarkable performances.
  14. King Richard
    Once you surrender yourself to what King Richard is doing, and what it’s not doing, that’s okay. It’s especially easy to shut up and go along with whatever rosy view the Williams family wishes to preserve because Smith is here the whole time, helping sell the story.
  15. tick, tick...Boom!
    In terms of musical-theatre bona fides and genuine, soaring emotion, Tick, Tick … Boom! drowns out its contemporaries all the way up to the rafters.
  16. Ghostbusters: Afterlife
    This is a movie that is one giant Easter Egg, cracked and rotten and sulphurous in its stink.
  17. Encanto
    Encanto ends up being overwrought rather than enchanting.
  18. Gaza Mon Amour
    With one foot in lighthearted romantic comedy and another in also-light political commentary, Gaza Mon Amour never takes a wrong step, exactly, but also feels ambivalent about its final destination. And if that tortured metaphor doesn’t work for you, then the essence of the film, directed by twin brothers Tarzan and Arab Nasser, might feel just as wobbly.
  19. Belfast
    The film is not a masterpiece, but a memory box. Comforting, inviting, and one you won’t mind keeping close.
  20. Clifford the Big Red Dog
    The filmmakers have leapt over franchise concerns to somehow deliver a movie that engages kids and entertainingly puzzles adults.
  21. Beans
    When Beans works, it resonates deeply. And when it doesn’t, it’s not a tragedy – just evidence of a filmmaker finding what works for her voice and vision, and what might work better for an anticipated follow-up.
  22. The Beta Test
    A bold, raw, bordering-on-manic mashup of Eyes Wide Shut, Ivans XTC and HBO’s Entourage, the new thriller-cum-satire The Beta Test is here to test your limits.
  23. Red Notice
    The story is bland, the action incoherent, the surprises detestably nonsensical, the humour never rising above the level of a half-smirk. And for a movie that gathers the world’s most perfectly sculpted denizens, everything is bafflingly sexless. If Red Notice is the future of the big and shiny movie, then we are now in the era of the neutered blockbuster.
    • 40 Metascore
    • 42 Critic Score
    13 Minutes
    The film’s heart may be in the right place, but a melodramatic score, pastoral cinematography and deeply sentimental character arcs make for an altogether mediocre drama, not an urgent thriller.
  25. Kímmapiiyipitssini: The Meaning of Empathy
    As a filmmaker, Tailfeathers doesn’t pretend to be an objective observer. She’s interested in community-based, trauma-informed storytelling. She allows her subjects to be in control. The result is scenes of extraordinary honesty and openness from people whose voices we rarely hear, but cry out to be listened to.
  26. Only the Animals
    Some might find the characters written with heavy cynicism. I’d rather see their desperate pursuits as poignant and comically human, even if the film’s tone is dark. These are lonely people seeking love. It’s not that complicated.
  27. Finch
    Sapochnik (Game of Thrones) wisely puts Hanks at the centre of nearly every scene, letting the actor’s ceaseless charisma carry audiences through the End Times. We attach ourselves to Finch partly because of the character, but also because we’re rooting for Hanks to escape the island, oops, I mean the apocalypse.
  28. Eternals
    Eternals is shockingly, depressingly lifeless.
  29. A Mouthful of Air
    There is a delicate touch deployed here, and not only with Julie, but those surrounding her. Depression, Koppleman seems to be saying, is not a one-person battle. It can swallow everyone in a victim’s orbit.
  30. The Harder They Fall
    Buoyed by its urgent yet playful references to the real-life history of the Black West, Netflix’s newest genre outing The Harder They Fall is an energetic and poppy crowd-pleaser of a film made even better by its punky indifference toward staid conventions of period filmmaking.
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