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 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:
  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. If I Had Legs I'd Kick You
    Bronstein infuses every moment of If I Had Legs... with a jagged kind of intensity, stringing together scenes with an adrenalized propulsion that makes a story of a mother struggling against a world pitted against her feel both singular and universal.
  2. Good Fortune
    It is all fairly silly and sometimes wildly uneven stuff, with Ansari’s rather dark socioeconomic themes often colliding uneasily with a barrage of lighthearted zingers. But the laughs rarely let up, with Ansari committed to ensuring that barely a minute passes by without a wry observation or sharp gag.
  3. Middle Life
    Moondi’s film feels of a piece with his previous work – films in which relationships are tested and almost pulverized – while also pushing into new, more emotionally complex territory.
  4. Frankenstein
    If Frankenstein is enough to shake the director of his creature comforts and push him to explore something new, then so be it. But don’t expect everyone else to devote themselves to such an exquisite corpse.
  5. TRON: Ares
    Ares is a mostly disposable and thoroughly dumb product of lazy franchise fetishism from filmmakers who could not seem to care less about what story they are trying to tell. But as a two-hour visual screensaver to a thunderous and hypnotic Nine Inch Nails soundtrack, Ares rules.
  6. The Road Between Us: The Ultimate Rescue
    Avrich was probably wise to avoid lengthy digressions into Middle East politics, but if a great film takes the particular and makes it universal, this is not a great film. Given the war that has followed, this individual story must remain only that, circumscribed by the larger context that perforce it can barely acknowledge.
  7. Anemone
    While there are several moments in the film, including two extended monologues, that remind audiences just how ferociously committed a performer Daniel can be, so much of Anemone feels a few dozen workshops away from being camera-ready.
  8. The Smashing Machine
    Safdie recognizes that The Smashing Machine is a single-purpose invention, one built to run on the blood, sweat and sometimes even the tears of Dwayne Johnson. Consider the act of watching the movie a double dose of cinematic benevolence: rewarding yourself, and saving the star from his own worst Hollywood instincts. Two birds, one Rock.
  9. One Battle After Another
    Thoughtful yet incendiary, romantic yet skeptical, patently absurd yet at the same time brandishing a mirror that so clearly and unforgivingly reflects our own cracked reality, Anderson’s film arrives with the kind of casual, confident brilliance that feels deceptively effortless.
  10. Him
    While HIM’s visual and cinematographic landscapes might be stylistically evocative at times, they lack in narrative substance and a discerning formal logic, reducing images and themes rife with narrative potential into a series of hollowly aestheticized surfaces that squander the film’s own potential as well as the talent of its actors.
  11. A Big Bold Beautiful Journey
    Kogonada fills the vacuousness in the script with knowing nods to all the performance and illusion we commit to when taking the leap – whether in love or (in its meta way) at the movies.
  12. The History of Sound
    This is not a film to easily swoon over, but mournfully contemplate.
  13. Downton Abbey: The Grand Finale
    It all makes for an emotional send-off, with the reassuring familiarity of those heart-stirring strings cuing the final glimpse of the estate in silhouette at magic hour.
  14. The Long Walk
    While Lawrence keeps the momentum steady – just like his contest’s most able-bodied walkers – and ensures that every few minutes delivers some kind of violent jolt, there’s just not enough meat to this particular roadkill story to keep one cinematic foot in front of the other.
    • 57 Metascore
    • 70 Critic Score
    Spinal Tap II: The End Continues
    There’s a kind of procedural nostalgia at work here. It’s not as newborn ridiculous, and certainly not as innovative, but the film knows the game it’s playing – or, in Tap’s case, the music it has to keep hammering out. It doesn’t hit eleven, but it doesn’t have to.
  16. The Toxic Avenger
    This is a remake built on equal parts care and admiration, a love letter to all the sickos out there. It’s nothing to simply wash your hands of. Or flush away.
  17. The Roses
    The Roses is not nearly acrimonious, or funny, enough to justify its peculiar existence. If DeVito’s original was the cinematic equivalent of going through the divorce from hell, this new break-up feels more like a trial separation.
  18. Nobody 2
    As the medley of violence continues, Stone’s mugging goes from giddily sinister to hammy and exhausting. Same goes for Nobody 2, and also the post-John Wick wave of action movies it’s part of.
  19. Honey Don't!
    Honey Don’t! attempts another go at a mock, low-brow outing reimagined through a queer lens, but suffers irrevocably from an uncompelling mystery, patterned by a series of gags that leads nowhere.
  20. Relay
    As nice as it is to see New York play itself or watch Ahmed and Worthington run circles around each other, the entire caper is rendered unsolvable by one big, meatheaded twist that undermines everything that came before.
  21. Splitsville
    Guts will be busted, and sides will be split. Heck, moviegoers might even learn to kiss and make up with comedies for good.
  22. Highest 2 Lowest
    When Lee puts Washington in just the right scene, with just the right power dynamics and just the right nerve-rattling dialogue, the result is a thing of high art. Forget the film’s initial low points – just keep aiming toward the top. And keep watching King David’s throne.
  23. The Naked Gun
    If Anderson fits like a glove in the new Naked Gun, it’s because her durability is as pleasantly unexpected as this franchise that’s refusing to heed the memo that reboots suck and studio comedy is dead.
  24. Weapons
    Quickly and efficiently, Cregger sets up his world and its impossibly high stakes with style to burn. Finally, we have a horror movie director who knows how to properly light a nighttime scene. But once Cregger’s narrative threads are laid out, the writer-director has a helluva time stitching them together.
  25. Freakier Friday
    By multiplying the number of body-swaps, the script seems to have accidentally increased its plot padding, too, resulting in a mushy mess that is only fitfully charming. But when the film does work, it delivers the kind of thank-goodness-it’s-Friday success story that will warm the heart of every long-time Lindsay Lohan fan out there (we are legion).
  26. The Bad Guys 2
    Whenever Rockwell’s purr comes on, which is often given Mr. Wolf’s central role, the whole affair sings, uniting both children who are naturally entranced by the actor’s delivery and adults who get Oscar-calibre work in an otherwise forgettable kiddie flick.
  27. Together
    Together is such a sharp blend of the hilarious and the terrifying that it busts your gut at the same time it has you gritting your teeth.
  28. Oh, Hi!
    Directed by Sophie Brooks and co-written by Gordon, it subverts both the rom-com and horror genres to produce an original story that thwarts predictability.
  29. The Fantastic Four: First Steps
    The Fantastic Four is here for a proper reset – a buoyant and frequently dazzling one at that, which sort of makes up for the failed movie adaptations of Marvel’s first family from the past.
  30. I Know What You Did Last Summer
    While one-time teen dreams Hewitt and Prinze Jr. earn their paydays by lending a semblance of gravitas to the silliness, their brief on-screen presence only underline the lifelessness of today’s fresh meat.
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