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. Events Transpiring Before, During, and After a High School Basketball Game
    The combination of less-experienced actors with a deadpan script is hit-and-miss. The naturalistic performances give the feeling of real high-school students, but at times that vibe veers more toward high-school drama production.
  2. The Rescue
    Whereas the directors’ last project, the Oscar-winning free-climbing doc Free Solo, chronicled an open-air kind of anxiety, The Rescue is a claustrophobic exercise in tension, expertly assembled for maximum emotional impact.
  3. Mayday
    The coolest-looking movie of the year is surprisingly lame.
  4. The Many Saints of Newark
    The result is an indecisive and shapeless drama that never seems confident in the characters or situations it has created.
  5. Venom: Let There Be Carnage
    Hardy’s use-it-or-lose-it charm very nearly drowns out the dreadfulness all around him, but ultimately it’s not enough to sustain life. And given that the actor has a “story by” credit here, he deserves more blame than praise.
  6. No Time to Die
    It is both eager to distinguish itself from the series’ shaggiest shenanigans but also happy to embrace them whenever it feels things threaten to get too heavy. The result is an overlong and conceptually loopy thing – but when it works, which let’s say is, oh, I dunno, 83 per cent of the time, it offers one helluva view … to kill!
  7. Titane
    French director Julia Ducournau, however, delivers a mindblower that keeps you guessing for all of the film’s excellent 108 minutes. She shocks; she entertains; she wickedly defies expectations.
  8. Snakehead
    Leong’s documentary realism is powerful – if tough on an audience – but his fiction skills are erratic in a film that relies too heavily on Sister Tse’s narration, much repeated flashbacks and heavy exposition of the characters’ motivations.
    • tbd Metascore
    • 88 Critic Score
    Farha
    Best known for her award-winning shorts, Sallam extends her storytelling here to great effect, making it clear she is a talent to watch.
  10. The Wheel
    With compelling performances from leads Amber Midthunder and Taylor Gray, it’s impossible not to be invested in where they end up.
  11. The Survivor
    It’s a long film, and the payoff might not be enough for some. But as a moody story about moral dilemmas and moving beyond the past, The Survivor outlasts its 129 minutes.
  12. The Good House
    If you can ignore an ending ripped straight from the AA playbook, there’s minor fun to be had along the way.
    • 54 Metascore
    • 63 Critic Score
    Best Sellers
    Clichés abound and you think you know where this is going. But in her feature debut, Canadian director Lina Roessler manages some genuine surprises. Caine is wonderful, Plaza is charming. The film has its moments, but one for the books this ain’t.
  14. Blue Bayou
    The film lays emotions on thick, with strong performances and dreamy cinematography. The high points are devastating and show off Chon’s empathetic storytelling. But at its ebb, the film tries to do too much at once, spilling every which way.
  15. Prisoners of the Ghostland
    It is an overstuffed, manic, exhausting piece of instant movie-meme catnip – likely impenetrable to all but the hardest of hardcore genre devotees.
  16. Cry Macho
    On the one hand, you gotta give it to the man. He’s got grit. But surely, there are other cowboys whose stories are just as worth telling.
  17. Drunken Birds
    A melodrama split, then cross-connecting, into three separate parts, Drunken Birds is a startling thing that just narrowly avoids whiffing the landing.
  18. Charlotte
    Sometimes, the animators find an expressive style to match difficult content – a suicide, a mercy killing and several sex scenes – and sometimes they just make the images of Salomon and the refugee with whom she falls in love seem leaden in comparison to the artist’s sprightly line.
  19. Bergman Island
    While the film first regales us in sightseeing tours of the scenic Faro Island, the film ends in an unexpected wallop of heartbreak as Chris begins to describe the film-within-a-film she’s writing in her notebook to her unattentive partner.
  20. The Humans
    The writer’s adage that the specific is universal comes fully alive in this family drama, written and directed by Stephen Karam, based on his Tony-winning play.
  21. The Starling
    Kline and McCarthy are lovely in their few scenes together (they’re the reason for that extra half-star) and for those brief moments, you see the film the actors thought they were making.
  22. The Desperate Hour
    The chance to say something new or revealing about school shooters is squandered, and all the urgent reality runs out.
  23. Spencer
    Spencer works best when Princess Diana gets to be wickedly alive – playing a game with her sons, joking with Hawkins on the beach. When Stewart is given permission to play a person, not a dynasty, she offers up some of her best work yet.
  24. Last Night in Soho
    Though visually sumptuous and a bunch of fun early on, Edgar Wright’s take on sixties and seventies horror eventually devolves into unsatisfying spoof.
  25. Terrorizers
    The excellent cast (Moon Lee, Annie Chen, JC Lin, Pipi Yao, Ding Ning) inhabits rich inner lives, although the love hexagon they find themselves in could be comically described as the “man looking at other woman” meme writ large.
  26. Montana Story
    Thanks to the specificity of Richardson’s performance in particular and Giles Nuttgen’s gorgeous cinematography (the movie is shot on 35 mm), Montana Story evokes a grandiose style of American frontier filmmaking, somewhere between John Ford and Kelly Reichardt. See it on the largest screen you can find.
  27. Are You Lonesome Tonight?
    The story is running a bit thin by the end, yet the almost comic character of the investigative detective is underused. Still, the unlikely presence of Guangzhou, steamy by day, gritty by night, and the shifting viewpoints on the accident add an engaging originality.
  28. Benediction
    The dialogue is quietly scathing, and the production values are sumptuous. But Davies seems most interested in Sassoon as a symbol of hemmed-in Englishness. As a character, he remains poetically opaque.
  29. The Mad Women's Ball
    Laurent is determined in mapping the depiction of the patriarchal violence endured under both the supposition of scientific method as well as the social order of the world outside of the institution; however, the film struggles to keep a similar pace and substance within its story world.
  30. The Eyes of Tammy Faye
    The director, Michael Showalter (The Big Sick), and the screenwriters Abe Sylvia, along with Fenton Bailey and Randy Barbato who made the 2000 documentary of the same name, either can’t or don’t want to confine themselves to a consistent tone.
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