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. The Father
    Yes, The Father is a familiar story and a universal one. Yet Zeller has been uniquely inventive in the way he evokes the unreliability of memory and the subjectivity of experience in the senile – and the healthy.
  2. Things Heard & Seen
    While there are the requisite number of jump scares and red-herring narrative fake-outs, Berman and Pulcini – who are odd fits in the first place, given their decidedly non-genre filmography – zig where you expect them to zag.
  3. Tom Clancy’s Without Remorse
    At least Without Remorse gets one thing right: casting onscreen dynamo Michael B. Jordan as the out-for-blood hero.
  4. Mortal Kombat
    It is all very, very stupid, But first-time director Simon McQuoid regrettably refuses to embrace that stupidity.
  5. Stowaway
    Whenever the story’s central tension threatens to get interesting and complicated, the filmmakers deflate it in the most obvious of ways.
  6. In the Earth
    When Ben Wheatley is having a laugh, he can make for a perversely pleasant genre tour-guide. When he starts to get high off his own supply, though, it’s best to hike back to civilization.
  7. Chaos Walking
    Chaos Walking is, in its own way, a masterclass in everything that contemporary filmmakers should avoid doing.
  8. The Mitchells vs. The Machines
    The jokes arrive fast and plentifully, knowing just what will tickle both younger viewers and adults.
  9. Little Orphans
    The plot could have benefited from some sort of subversion – something to make the familiar trope of a dysfunctional family wedding a little less predictable.
  10. No Ordinary Man
    Tender, topical and well-crafted, No Ordinary Man is no ordinary film.
  11. Sugar Daddy
    Sugar Daddy will be gripping viewing for anyone who wonders what it takes to make it – and whether it’s all worth it in the end.
  12. Thunder Force
    With the exception of a few demented scenes teleported over from a stranger, better comedy . . . Thunder Force is as sloppy and disappointing as the label “A Ben Falcone Film” previously suggested.
  13. Quo Vadis, Aida?
    It’s all too common for history to remember victims as numbers, but Quo Vadis, Aida? counters this, offering instead an eye-opening and deeply felt personal portrait of tragedy.
    • 46 Metascore
    • 63 Critic Score
    Held
    The film is scary not in its extraordinary imaginings but in the mundane familiarity that underpins those imaginings.
  15. French Exit
    Simply put, I didn’t care for a single person or situation on-screen, and Jacobs’s curiously unconfident and drab direction, which is in desperate need of tighter editing, only hastened my growing annoyance.
  16. The Unholy
    Eventually, The Unholy reveals itself not to be an entertaining ride to Hell but an earnest sales pitch for the power of Christ. Fair enough. But for Easter 2021, I was hoping for something a little more enjoyably demonic and less been-there-redeemed-that. Let us pray.
  17. Six Minutes to Midnight
    The photography is elegant, but nothing else is. With action that is standard and not at all tense, the melodrama is much higher than the reward.
  18. Concrete Cowboy
    A compelling, if ultimately predictable, coming-of-age drama.
  19. Godzilla vs. Kong
    Godzilla vs. Kong is a ridiculous movie made even more ridiculous by a distinct lack of care in its conception and execution. But it is also the kind of cinematic assault that delivers just the right jolt to the most base sensibilities hiding within our lizard brains. You walk away dazed but bemused.
  20. The Courier
    There are immense, leisurely pleasures to be found in The Courier, which presents a familiar spy-versus-spy drama in a familiar way. Which is fine: So long as you’re not expecting subversion or surprise, you can gently sink yourself into director Dominic Cooke’s intentionally, pleasantly lukewarm waters and come out the other side refreshed and squeaky-clean.
  21. Underplayed
    Of course, sexism in any realm is hardly shocking. But Lee presents her argument in such a clear and empathetic way that you’re not only enraged by the state of the genre, but how the women we meet are still fighting a fight that’s hurting us all.
  22. Nobody
    While the situation is played for dark laughs, Odenkirk’s commitment to the role is dead serious. He makes its ridiculousness believable. By the end of Nobody, I wanted desperately for the producers of the next Fast & Furious film to cast Odenkirk as the muscle-car-driving villain. In your heart of hearts, you know it would work, too.
  23. Violation
    The dead-seriousness with which Sims-Fewer and Mancinelli approach their subject is admirable, as is the former’s unsettling lead performance. And you won’t find another film this year that subverts the male gaze in such a brutally naked manner.
  24. Crisis
    While the film is awful, Jarecki’s approach to filmmaking is still paint-by-numbers watchable, solely because the genre is familiar. The director has clearly watched enough movies to understand that pool halls and dive bars are good places for gangsters to hang out, that seedy deals happen in motel rooms and that a mother’s love is stronger than any other earthly force.
  25. Zack Snyder's Justice League
    It is still by no means a great film, even compared against the standards of contemporary superhero cinema, which is bleeding any sense of individual artistry and purpose each passing year. But it is a wild, invigorating experiment to experience.
  26. Death of a Ladies' Man
    With a fine balance of winking absurdity and wry humour – Cohen would tip his fedora to the born-and-raised Montrealer Bissonnette on that score – Death of a Ladies’ Man is a charming study of a man in crisis. It’s serious here and funny there.
  27. Yes Day
    Ultimately, Yes Day doesn’t commit to either being a full-out family fun movie or a family drama.
  28. Boss Level
    It’s bloody, brutal, stupid fun – until it isn’t. Either running out of ideas or running into budgetary problems, Carnahan slows things down about halfway in, stopping the madness in its tracks to give Roy some humanity (not needed here, but thanks!) and to give audiences some yadda-yadda villainy from a bored-looking, here-for-the-paycheque Gibson (also, no thank you!).
  29. Coming 2 America
    Norbit was memorably offensive. Coming 2 America is merely offensively forgettable.
  30. Moxie
    It’s tricky to give such a layered glimpse of high school in a movie that keeps its pace at a decent click. And while Moxie is just a small snapshot of those weird and wonderful years, it gives viewers a decent lesson in how to be an ally, without being preachy about it.
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