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 Babysitter: Killer Queen
    In this new era of McG movies, you can simply turn his film off, walk a few steps to your bedroom and go to sleep.
  2. I Am Woman
    Plays like an easy-listening hit.
  3. The Way I See It
    There is certainly much to celebrate and remember about the former U.S. president’s tenure, but Souza, and Porter, don’t seem much interested in anything approaching nuance.
  4. The Broken Hearts Gallery
    But viewed from another, more cynical angle, The Broken Hearts Gallery reveals itself as just another lightweight Saturday-night diversion – zippy and heartfelt, certainly, but hardly reinventing or even seasonally rotating the rom-com wheel.
  5. I Propose We Never See Each Other Again After Tonight
    The movie gets so, so close to achieving its goal of complete audience seduction and surrender, too. Right before it rips your heart out with a narrative turn that has to be seen to be (dis)believed.
  6. The Eight Hundred
    While the scale of Hu’s production is indeed impressive in its giganticness, and likely plays excellently on the IMAX screens for which it is intended (I had to settle for watching it on my television), The Eight Hundred falls a few hundred yards short of war-movie greatness.
  7. Love, Guaranteed
    And before anyone pulls out the “guilty pleasure” card – no. There is zero pleasure here, no matter how low your bar is currently set. Only pain. So much pain.
  8. Mulan
    Sumptuously designed, brightly costumed and shot with an eye toward epic grandeur, the new film is simply gorgeous to take in, no matter the size of the screen. Less pretty is the script, which took four screenwriters to conjure even though there’s perfectly good source material just sitting there, waiting for a photocopy machine.
  9. Antebellum
    Antebellum is a film that lives smugly within its final reveal – and what’s worse, this reveal is more groan-inducing than anything else.
  10. The New Mutants
    Instead of funnelling his inspirations into one singular vision that he could call his own, Boone has made a Frankenstein of a franchise movie, a giant elevator pitch that leads directly to the sub-basement of originality.
  11. Bill & Ted Face the Music
    Although the tale feels a bit slight – and yeah, I’m still aware we’re talking about a Bill & Ted movie – the affair is ultimately breezy, harmless fun.
  12. i'm thinking of ending things
    It is beautiful, delirious, frustrating and so wedded to that film-critic notion of the unimpeachable “Kaufman-esque” sensibility that there is little point in arguing with its power, with its immeasurable impact. It works, even (especially?) when it’s not supposed to.
  13. Fatima
    I also appreciated the film’s quick glimpse of Hell itself, which Lucia is plunged into as a warning to whose who won’t accept salvation. With its cheap CGI demons and soundtrack of wailing souls, it was unintentional comedy of the highest order. If you need me, I’ll be laughing all the way to Hades.
  14. Get Duked!
    Doff has created a film that bursts off the screen more often than not, albeit in that ultra-extreme Joseph Kahn kind of way. Your mileage may vary, but it’s a good enough game to play these waning summer days.
  15. You Cannot Kill David Arquette
    It is riveting, deeply depressing stuff – and would be more engaging if co-directors David Darg and Price James had decided to explore the many similarities that movie-making and wrestling share, such as their devotion to putting on a highly fictional show.
  16. Tenet
    Tenet is not so much a decipherable thriller as it is an extreme exercise in reverse-engineered narrative incomprehensibility – the cinematic equivalent of a half-baked pretzel, its goopy symmetrical loops superficial yet delicious all the same.
  17. Chemical Hearts
    It’s a film that considers young heartbreak so earnestly, it risks taking itself too seriously, too.
  18. Stage Mother
    Today, homophobia may still blight many a queen’s family relations, but Stage Mother feels dated and formulaic.
  19. The Sleepover
    A giddy and fitfully amusing mashup of "Adventures in Babysitting," "Date Night," the Spy Kids franchise and, um, "Wet Hot American Summer," The Sleepover is the latest entry in Netflix’s experiment in catch-‘em-all entertainment.
  20. Summerland
    Summerland may not be the greatest show on Earth, but it is firmly Arterton’s show – and deserves more attention than most anyone on these shores will likely give it.
  21. The One and Only Ivan
    The One and Only Ivan elevates its babbling baboons and erudite elephants to a level of graceful storytelling and emotional catharsis. The film might only be available to stream in the emptiness of your own home, but it has enough big-screen ambition that you can easily imagine it holding an entire theatre’s audience rapt.
  22. Unhinged
    The thin premise is just an excuse for an ultra-violent film. Worse, with the final scene, the suggestion is made that all the mayhem was the woman’s fault. Unhinged falls down in the worst ways possible.
  23. Project Power
    Most of the film’s action happens at night, so we really don’t get a good look at the colourful city. Why hire New Orleans as a location if you’re not going to show it off?
  24. The SpongeBob Movie: Sponge on the Run
    However, for me and my two kids (aged 10 and eight), this dive into the deep sea wasn’t as thrilling an adventure as we’d hoped for.
  25. Boys State
    Politicians are craven and driven by all the wrong reasons, and though the pair uncover a handful of hopeful voices – especially Ben Feinstein, a compassionate and committed idealist – you will likely exit the world of Boys State as cynical as you entered it.
  26. Spinster
    While Spinster works well enough as a showcase for Peretti’s talents, Dorfman never matches the power of her star. With a bare-bones production design and most of its scenes blocked in a pedestrian manner, Spinster looks like a TV show that simply goes on too long.
  27. The Secret Garden
    The latest adaptation of Frances Hodgson Burnett’s 1911 novel is not necessarily a bad film, just an unnecessary one. Given that we’ve already been treated to about a dozen film and TV (and anime!) adaptations, there is little that Munden and his creative team offer that is essential.
  28. I Used to Go Here
    The characters aren’t compelling, the comedy isn’t energetic, and the narrative surprises that Rey throws at the screen will be obvious to anyone who has ever heard the word “Sundance.”
  29. She Dies Tomorrow
    In its cautious rhythm, its economical storytelling and its deliberately over-the-top colour scheme – each character’s “infection,” so to speak, is back-lit by deeply saturated red and blues – She Dies Tomorrow unsettles without using any of cinema’s typical tools.
  30. The Burnt Orange Heresy
    The international cast manage to acquit themselves fine enough, with Jagger in particular having a ball as an energetic rapscallion.
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