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 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:
7291 movie reviews
  1. If you see Dionne Warwick as the greatest-ever interpreter of the music of lyricist Hal David and composer Burt Bacharach, you wouldn’t be wrong. There’s more to her story, however, as shown by this lively, contextual bio-doc.
  2. Filmed in Nova Scotia and featuring both English and Mi’kmaw, Wildhood beautifully captures the beauty of the landscape and its community as well as moments of humour, even as it treads some bleak spaces.
  3. The laughs and the wisdom creep up on you in this small and subtle comedy about male relationships.
  4. Even if you’d rather die than be trapped in a broken elevator with endless Kenny G music, Lane’s excellent accomplishment is making 97 minutes about the musician so much smart fun.
  5. Alison Klayman’s documentary about the making of Jagged Little Pill should be as raw as its source material, but plays it incredibly safe instead.
  6. With his elegant bio-doc Oscar Peterson: Black + White, director Barry Avrich discreetly (perhaps too discreetly) sniffs around the question of Peterson’s legacy and whether he truly received the respect he deserved in his lifetime.
  7. While Neptune Frost is at no loss for multi-faceted thinking, its development of these concepts too often remains at the surface of meaning. The Black futures envisioned here are largely concerned with aesthetics and, while sonically and visually lush, seem hollow in comparison to the range of their full potential.
  8. Today’s YA generation is unlikely to appreciate the monosyllabic performances and stately pace, but Pilote delivers a beautiful film in the tradition of the Quebec canon.
  9. To use the parlance of young people these days, Quickening is a mood.
  10. Trier has an incredible ear for dialogue and can observe the pitiful drama of a millennial breakup like no other.
  11. Using Toba Tek Singh as a recurring narrative device is sublime, for those who understand the reference and the burden it carries.
  12. The movie is basically a sumptuous almost two-hour long music video/musical. And as we wind down the summer – looking ahead to yet more uncertainty in the fall (Variants! Elections! Just Life In General!) – it’s delightful to indulge in a flight of fantasy.
  13. Shang-Chi is a first, but it’s firstly fun to watch.
  14. In its attempts to revisit the original film’s discrepancies, DaCosta’s film ends up only retracing its narrative inconsistencies with full force and even deeper perplexity. Gone is the alluring entanglement of erotics and fright, replaced here by flat characters limply stumbling over a script intent on hitting us over the head with its social commentary.
  15. Vacation Friends could’ve been the fun, lackadaisical resort comedy it wants to be. Our ensemble has considerable chemistry and are all charismatic performers in their own right. It’s fun to watch Cena in goading jock mode, until Howery jumps off a cliff with his glasses still on. Unfortunately, Tarver’s film soon veers hard on its cinematic jet skis, and falls flat on its face.
  16. Despite some clever, winking nods to the original, including appearances by Cook herself and Matthew Lillard, He’s All That fails to deliver on what She’s All That did so well: a sweet, lighthearted romance that hinges on the chemistry between its two leads.
  17. Based on the 2015 book of the same title, The Hidden Life of Trees is a documentary both simple and startling.
  18. Whatever the experts say, any viewer can observe the large gap between the damaged original and the perfect restoration. Perhaps the only definitive thing one can say about the most expensive painting in the world is that, regardless of who painted it in the 16th century, it is a creature of the 21st.
  19. Misha and the Wolves is as much a documentary as it is a wrestling match: filmmaker versus subject, truth versus fiction. Ultimately, the viewer comes out the winner.
  20. There is a certain charm to Shaw’s deadpan comedy – and I genuinely appreciated what I can only assume was an intentional callback to Michael Cera’s fate in 2013′s This Is the End – but one visit to the Cryptozoo was enough for me.
  21. By focusing on the old men and their dogs who spend their time in the woods of Northern Italy searching for the prized fungus, Dweck and Kershaw operate on a level of gentle, removed observation.
  22. While the film is tonally incongruous and confusing at points, Ivan and Gerardo’s powerful love story has such high stakes, you can’t help but swoon.
  23. Unfortunately, Demonic often lacks the substance and energy needed to back up its narrative originality and hybrid genre form. While it is refreshing to see the groundedness with which the director approaches his newest project, his larger-than-life ideas still seem to have trouble finding their exact footing.
  24. It’s elegantly filmed and well constructed, building to a haunting climatic sequence that could sear your eyeballs.
  25. As for who’s the cat and who’s the mouse, that’s easy: Filmmaker Campbell is the former and we’re the latter. The Protégé plays with its viewers – if one is up for the game, there are worse ways to spend 109 minutes.
  26. For a film about memories, Reminiscence is ultimately truly forgettable.
  27. We’re still a long, long way from the heights of animation titan Pixar. But you (parents, that is, not whichever five-year-old might have a Globe subscription) might also put your phone down for a stretch to see just what’s happening on-screen. At the very least, you’ll see which toys you’ll soon have to buy. Yelp!
  28. Despite its shortcomings, Beckett manages to be a semi-effective thriller, with Washington holding enough attention to get the audience to root for his titular protagonist, but the lack of character development means viewers are never fully invested in his story.
  29. It’s quite a film Stephens has made.
  30. There isn’t enough raw drama, deep-felt emotion, or genuine artistry on display here to keep CODA from staring down its own obligatory end: a half-smile and a shrug.

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