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 3.1 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 Front Runner
    This Altman-esque drama about the rise and fast fall of the 1988 presidential hopeful has a lot on its mind – morality in public office, the state of journalism, the often paradoxical nature of running a campaign based on lies – but spends too little energy dissecting those thoughts.
  2. Out of Blue
    Part police procedural, part supernatural thriller, part lesson in metaphysics and all neo-noir, Carol Morley’s Out of Blue never gels into a convincing whole.
  3. Boy Erased
    Edgerton, who also plays the tightly wound chief of the conversion-therapy organization here, wrings devastating performances from his cast, including Lucas Hedges as Garrard, and Russell Crowe and Nicole Kidman as his parents.
  4. Donnybrook
    The apocalyptic vision of the heartland created by Sutton and his cast (based on the novel by Frank Bill) is impressively convincing, even if the themes are often overstated and the film itself is very hard to watch.
  5. Her Smell
    [A] bafflingly unbalanced film by American auteur director Alex Ross Perry.
  6. The Death and Life of John F. Donovan
    Perhaps explanations for all these improbable scenarios were lost on the cutting-room floor during Dolan’s notoriously prolonged editing process.
  7. High Life
    By twisting around preconceptions of what an outer-space epic should be, French auteur Claire Denis returns to the fertile ground of her Trouble Every Day era, using genre to dig beneath themes that others would only treat as skin-deep.
  8. Quincy
    Tireless, ultra-talented and exceedingly charismatic, he emerges as a survivor in a film that spends too much time on his accolades and not enough on deciphering what makes this treasure of an octogenarian tick.
  9. Colette
    Colette is a satisfyingly conventional biopic about a highly unconventional woman.
  10. Mid90s
    Mid90s doesn't feel like a recreation of an era so much as a lost artifact of the time. There's one predictable and regrettable narrative beat toward the end, but otherwise Hill has crafted a debut that will last a lifetime.
  11. Widows
    Led by a magnificent Viola Davis, the cast is ridiculously stacked. The action is tremendous. And the ultimate message – that nothing comes for free in America – is devastating in its swift brutality.
  12. First Man
    It is immersive, engaging and dizzying filmmaking.
  13. If Beale Street Could Talk
    Jenkins creates many remarkable scenes, particularly as the male characters discuss the racist realities with which they live.
  14. The Predator
    On the whole, the film slays in all the right ways: killer cast, killer one-liners, killer kills. But there's a distinct sense that the story is stitched together from other, hastily discarded plot lines – even the simple manner in which some characters get from Point A to Point B is messy.
  15. Greta
    It's a jumbled mess, to put it mildly.
  16. Dogman
    The naively amenable character is wonderfully observed by Fonte, and early scenes show delicious whimsy and black comedy...but as the film’s numbing brutality takes hold the character’s passivity makes the action drag in places.
  17. Diamantino
    Part political satire, part fantasy, part I-don’t-even-know-what, Diamantino is exactly the type of surreal concoction that begs to be discovered by unsuspecting audiences.
  18. Cold War
    Form and content seem oddly divorced, but music – the Polish folk tunes, communist-propaganda anthems and Parisian torch songs – sets the mood and saves the day.
  19. Climax
    Just as it seems that Noé will tip over into the truly extreme, he backs off. If this is the dawn of a new, slightly restrained Noé, we might need five more stages to process the pivot.
  20. Birds of Passage
    The impact of modern vice upon the Wayuu is a captivating tale never told before, and the final few minutes are brutal in the best possible way
  21. Assassination Nation
    Levinson displays some amazing technical chops – most of which can be traced back to Joseph Kahn, but never mind – and there’s one standout home-invasion sequence toward the end. But some warnings are best heeded.
  22. Ash Is Purest White
    Entire passages stretch along at a too-leisurely pace, allowing whatever anger Jia is surely carrying to too frequently cool off. Still, by the film’s New Year’s Eve-set finale, there’s little doubt Jia can create masterful cinematic moments when he so desires.
  23. 3 Faces
    It’s a film full of delicate metaphors and gentle humour – the locals have elaborate rules for giving a warning honk of the horn on their one-track road but refuse a simple suggestion to widen it – and meanders, sometimes a bit elliptically, to its conclusion.
    • 93 Metascore
    • 100 Critic Score
    Shoplifters
    The director, though, reaches in and steals your heart right in front of your eyes, like a magic trick, and you have to admit you didn’t even see it coming.
  25. Vox Lux
    Corbet’s work is a big, sloppy wet kiss to all manner of rise-and-fall clichés. Yet it mostly works, with Corbet as eager to display his influences...as he is to prove he can handle his own gonzo-spectacle set-pieces.
  26. Outlaw King
    Director David Mackenzie (Pine's collaborator on Hell or High Water) dabbles in some interesting aesthetic experiments – including a doozy of a single-take scene in the film's opening minutes – but the narrative is cut, dried and left to rot under the soggy Scottish skies.
  27. Burning
    As it dips into murder-mystery territory, then something more quiet and philosophical, Chang-dong writes a story both expected and surprising.
  28. A Star Is Born
    It rejoices in a classic structure in which one upward trajectory and one downward meet for a shining moment in the middle. Under Cooper’s direction – and thanks to his chemistry with his co-star – the movie throbs with the excitement of that meeting, while the downfall of his alcoholic rocker achieves an almost tragic catharsis.
  29. Everybody Knows
    As he transfers his talents to a European setting and Spanish-speaking cast, Farhadi loses none of his remarkable ability to observe close relationships collapsing under stress.
  30. Destroyer
    Director Karyn Kusama shifts dexterously between the present and the past, unspooling a satisfyingly twisted piece of storytelling by writers Phil Hay and Matt Manfredi, who succeed in making both plots gripping. Kudos to Kidman for taking on an ugly role (both physically and morally) and for giving both versions of the character a convincing hardness.
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