The Globe and Mail (Toronto)'s Scores

Select another publication »
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
view
per page
  1. Wicked
    Oddly enough, the movie is both sumptuous and somewhat soulless.
    • 85 Metascore
    • 90 Critic Score
    A Real Pain
    It’s funny, sad and beautifully acted, and, like the best indie fare, it offers no pat conclusions.
  3. Red One
    For all its built-in cynicism and tired tropes, Red One is not as insufferable as you’d expect. At the least you can count on Evans and Johnson committing to the bit and selling all the broad gags they can, which should be enough to win over the elves in your family.
  4. Gladiator II
    Mescal and Pascal are both fine; though they often seem too overwhelmed by the tired plot machinations to really make an impression beyond how fine they both look in Roman garb.
  5. Blitz
    While it may depict events of the past, its relevance to the present couldn’t be more striking.
    • 82 Metascore
    • 70 Critic Score
    Small Things Like These
    In lieu of sensationalizing the persecution of these young women, Small Things Like These compellingly casts its gaze onto the complicity of the community and the social architectures which uphold abuse.
    • 74 Metascore
    • 70 Critic Score
    Bird
    Perhaps Bird is best understood as a film about self-consciousness or perhaps it is just a self-conscious film, ironing out the flaws of these well-meaning characters to create a fairy tale or apologue.
  8. Dahomey
    Diop’s latest documentary film is a poetic witnessing of the contradictions, mediations and politics of cultural restitution.
  9. Here
    There are melancholic bits later in the film that work – and reward anyone who sticks by the whimsical “time flies” structure.
  10. Emilia Pérez
    It’s a shallow and soulless outing that has no faith in the intelligence of its audience, squanders the considerable skills of its lead actresses, and, in its shallow and inert politics, is pathologically audacious in the worst sense.
  11. Juror #2
    Clint Eastwood is still making movies at 94. That’s amazing. What’s more shocking is that Juror #2 is not just pretty good but arguably the Unforgiven director’s most satisfying work in well over a decade.
  12. Venom: The Last Dance
    Venom: The Last Dance remains steadfast in the franchise’s commitment to storytelling that, like a pot of water that never quite hits boiling point, is neither so-bad-it’s-good nor so bad it’s raucously entertaining, even if only unintentionally so.
  13. Conclave
    Berger’s film is a sometimes zippy, frequently ridiculous drama.
  14. Anora
    Madison never loses grip on the character for a second. Together with Baker, the pair craft a whirlwind of a character, provocative and powerful and so very easy to imagine as the object of anyone’s obsession.
  15. The Shadow Strays
    As the two women clash in the film’s final moments, Tjahjanto executes a truly glorious extravaganza of choreographed carnage, as impressive as it is overwhelming.
  16. We Live in Time
    Pugh’s fierceness and Garfield’s ready access to emotion make them a good match; the dialogue is witty and it’s a pleasure just to listen to them talk. Most importantly, everyone involved is serious about and committed to and yes, in love with the story.
  17. Born Hungry
    You will leave the film as hungry for Simpson’s food as you will be full from his emotional journey.
  18. Rumours
    An experiment in prestige quirk, Maddin and the Johnsons’ film isn’t as interested in satirizing the complex and frustrating nature of geopolitics as they are in using the material to unload a heaping load of gags ranging from the scatological to the philosophical.
  19. Woman of the Hour
    [Kendrick] delivers a taut thriller that’s also a sharp critique of the casual misogyny women face.
  20. The Apprentice
    Unlike its subject, The Apprentice largely sticks to documented facts. Most of the cheating, lies, greed, vanity and misogyny on display are hardly new or shocking, and rather mild compared to what’s to come.
  21. Piece By Piece
    It’s perfect popcorn fare: the story of a creative genius against the playfulness of a Lego landscape mixed with a boppy tune.
  22. White Bird
    As Sara and Julien bide their time in the barn, escaping into their imagination, Forster keeps himself interested by turning the movie into an ode to cinema.
  23. Joker: Folie à Deux
    Why so serious, Phillips seems to be saying, in this follow-up. Relax, it’s all entertainment. The challenge, however, is that Joker: Folie à Deux is more ponderous rather than acting as a riposte. It has its moments of movie magic, but they largely get overshadowed by the weight of this redemption endeavour.
  24. Matt and Mara
    There is an intensity and commitment in Campbell’s work that mesmerizes, even frightens, with its sheer boldness.
  25. Frankie Freako
    Frankie Freako is designed to melt your brain. The only question is whether you might welcome such cerebral liquefaction or not.
  26. Saturday Night
    This is a movie that so badly wants to be as cool as its source material that it trips over itself, in backward Chevy Chase style, into something so old-fashioned and dully familiar that no amount of retro sheen can boost its cool bona fides.
  27. The Wild Robot
    Leave it to a robot to break our puny human hearts.
  28. Lee
    Kuras’s film, especially the paint-by-numbers script credited to a trio of writers, seems to oddly object to such a strong spirit, boxing the character into the most formulaic of narratives.
  29. Megalopolis
    Megalopolis might be Coppola’s decades-in-the-making passion project, an epic of ambition and imagination, but it is also a magnificent mess of a masterpiece, as irredeemably silly as it is sincerely sublime.
  30. Transformers One
    Ultimately the film struggles to balance its various commitments, with a screenplay that never seems sure of whether it wants to be a pure comedy, a lore-packed adventure or a peppy children’s film that shuffles kids straight to the toy aisle.
Page:

Top Trailers

See all »
See all trailers »