The Globe and Mail (Toronto)'s Scores

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 2.9 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:
7291 movie reviews
  1. An icy Sarah Gadon can’t plumb it, offering a quietly mannered performance where a beautifully furrowed brow and occasional tear suggest the character cares more about looking elegant than dying. Thankfully, in the warmer roles of Yoli and her resilient Mennonite mother, Alison Pill and Mare Winningham do find the big broken heart at the core of this story.
  2. Not precious, but humanist, The Gravedigger’s Wife is a striking first from a filmmaker and cast we should hope to see more of.
  3. Fuqua is reliable in his continued ability to craft tense and measured films for broad audiences looking for complicated tales of morality.
  4. There is an urgency to these stylistic choices which ask us how we might best realize, through image and sound, both the memory and feeling of violence, of hope, of salvation for the damned. As in life, the grotesque and the beautiful exist concurrently and are each given fair weight.
  5. It’s a shame that both Umair Aleem’s script and Cedric Nicolas-Troyan’s (The Huntsman: Winter’s War) direction ultimately feel rote because both Winstead and Martineau’s performances are fun to watch. Their playful, natural chemistry keeps the film from dragging on and lends a necessary levity and wit to the movie’s 106 minutes.
  6. The songs are clever; the actors dig in (especially Amy Adams and Julianne Moore as Connor and Evan’s moms, respectively). And Ben Platt’s voice is undeniable, a thing of wonder, a pure emotion-delivery system. You will be moved.
  7. Amin’s story is given life and depth, charted here with a care for his wholeness rather than too simply his refugee status.
  8. Although the film doesn’t fully deliver on the political-thriller element, it asks some powerful questions: How does violence become intimate, blurring the line of morals and ethics?
  9. Russia’s stark landscape makes for breathtaking and sometimes comical scenes. This is a trip well worth taking.
  10. Dug Dug is cleverly crafted, with its sharp edits and evocative sound design lending some bite to the satire. When the truth is revealed at the end, it’s stranger than fiction.
  11. The racial context is incisive; the retelling is tense, tight and chilling. These kinds of stories are emotionally wrenching to watch but can’t be told too often.
  12. There is exquisite dramatic tension here, built partly by Campion’s deft storytelling and partly by her powerful cast.
  13. Billed by the director as his tribute to cinema, One Second is affectionate and sweet – perhaps a bit too sweet, considering this premiere was much delayed after the film was held back by the Chinese government for supposed technical reasons in 2019.
  14. This could have been a thriller, but thrills are cheap and Moratto aims for something more documentative, sombre and meditative. It’s about paying debts and the illusionary concept of freedom.
  15. Just like a jazz tune, the film establishes an image, elaborates on it and brings it back to a more-or-less satisfying close.
  16. A highly abstract look at family, memory and regret, all filtered through the reality of daily life in the Métis Nation, Ste. Anne makes a big impression.
  17. With Night Raiders, Goulet can confidently claim to be today’s most effective practitioner of Indigenous sci-fi, a subgenre in which time-tested cinematic thrills – speculative fiction, violence, a heightened sense of style – act as Trojan Horses for themes that audiences might otherwise ignore. Everyone wins.
  18. Quiet and reverent, as if filmed entirely in hushed tones, Sciamma’s film is supremely confident in its every element.
  19. Munn’s exquisitely readable face, which cycles through emotional states with delicate flickers, is Bateman’s strongest asset. Her weakest is her storytelling.
  20. Aloners manages to delicately infuse what otherwise seems like a slice-of-life drama with shots of mystery that keep us invested in Yu Jin’s otherwise humdrum life.
  21. Cumberbatch excels once again at breathing life into a sorrowful genius.
  22. Director Maria Schrader’s new sci-fi-tinged rom-com might be conventionally structured, but it is also smoothly crowd-pleasing work, tackling all the anxieties and neuroses of midlife romance with the fears and promises of next-generation technology.
  23. Right from its opening frame, there’s a lyrical, dreamlike quality to Payal Kapadia’s debut feature.
  24. It’s a beautiful work of cinematic concentration that’s purely Apichatpong.
  25. The director’s larger point is deployed with such subtlety that it creeps up on the viewer with devastating force.
  26. The Middle Man is an understated gem.
  27. Within India’s multilingual cinematic universe, Malayalam cinema has long established its own narrative. Despite its occasional disjointedness, Nithin Lukose’s debut feature is a worthy addition to that tradition.
  28. A quiet study of its characters, Ali & Ava is a fresh take on otherwise well-worn rom-com narratives.
  29. With great humour and heartbreak, Whether the Weather is Fine is the kind of film intrepid cinephiles long to discover at TIFF.
  30. Although the most dramatic events in the film tend to happen off screen, both men endure jail time, devastation of their property and familial heartbreak for participating in such a high-risk, high-reward career.

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