The Globe and Mail (Toronto)'s Scores

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:
7291 movie reviews
    • 56 Metascore
    • 50 Critic Score
    Not nearly as smart as it should be.
  1. By the time the film reaches its obvious conclusion – by the time Hart expends more energy than Bugs Bunny, by the time the espionage plot twists itself into corners too convoluted for even "Homeland" fans, by the time Thurber exhausts the audience by unleashing cameo after cameo – it’s only Johnson who remains standing tall.
  2. DeGeneres goes much further, though, maintaining a delicate balance between Dory’s optimistic personality and the hovering anxieties created by her imperfect memory.
  3. Miller’s characters are complete, singular people, and her take is thoroughly female. She subverts the genre, and wakes it up.
  4. In the end, the power of Minervini’s pseudo-fiction gives way to a much blander version of pseudo-reality.
  5. This solid intellectual biography painstakingly follows the development of Arendt’s thought as she was forced to flee her privileged surroundings in German academia, where she was Martin Heidegger’s student and lover, to France and then the United States.
  6. In real life, of course, nobody can be hypnotized against their will. To be mesmerized is to willingly succumb. Just keep that in mind when you head off to see something like Now You See Me 2.
  7. A supernatural winner.
  8. The performances of Travis Fimmel, Toby Kebbell and Paula Patton as the warrior Lothar, the orc hero Durotan and the half-orc/half-woman Garona, all awakening to the evil forces around them, are meaty enough to hold attention.
  9. They’re back for an entertaining enough 3-D sequel to their 2014 franchise revival, and so is the rest of the cast that includes foxy Megan Fox and her ability to wear a naughty schoolgirl outfit.
  10. While it also boasts an array of dick jokes (of which there are many, and they are great), it also holds a magnifying glass up to the culture that we’ve all had a hand in creating.
  11. Despite its $20-million budget, Me Before You is cheap; and just like a person who has more money than he knows what to do with, this film equates wealth with value and vulnerability with death.
  12. Clumsy and erratic, Lolo is a slapdash comedy of errors that slips on its own banana peel but gets few laughs.
  13. It’s a goofy, confusing mess of a sequel, a cautionary tale of what happens when a filmmaker lives too long inside his own franchise to realize that no one takes it nearly as seriously as he does.
  14. Adapted with great warmth and wit, and with as much of Austen’s crackling dialogue as his own, Stillman shapes lean Austen descriptions such as “He is as silly as ever” into superb character bits for the preposterous twit Sir James Martin (Tom Bennett).
  15. The movie wears its situational zaniness lightly and depends on the rapid-fire dialogue, charm and killer chemistry of its romantic duo. Just enjoy its loopy pleasures.
  16. As Alice, Wasikowska, who has lost the injured look that made her so effective the first time out, creates a character who is fundamentally sweet, likeable and loyal.
  17. The soundscape is rich, and the beast-battles well executed. But the characters never develop beyond their two-word descriptors: Conflicted Boy, Lonely Girl, Angry Son, etc.
  18. À la vie is a gentle toast – the film sticks to its subtle tone, which is both its strength and its weakness.
  19. They deliver precisely enough guffaws to give you your money’s worth, with a couple of sweet moments about how daughters break their parents’ hearts tossed in. I guess they had to hold something back for "Neighbors 3: Suburbia, a.k.a. The Cat Catches the Tinfoil."
  20. It’s a twisted existential grotesque that wrings thought-provoking pathos and even affection for the lunatics running the menagerie, no mean feat.
    • 56 Metascore
    • 50 Critic Score
    When one of the most enlightening moments of a film comes during the postscript (black holes!), you know there’s a problem – one that has nothing to do with math.
  21. And, make no mistake, this is a movie that is supposed to be seen from the perspective of a small child.
  22. It’s all delightfully fizzy, bloody fun – even if there’s the teeniest, tiniest hint of sequel ambitions.
  23. Like Wheatley’s 2011 film "Kill List," High-Rise switches genres effortlessly – black humour one moment, dystopic parable the next – until it becomes its own singular, horrifying, immensely captivating thing.
  24. The racer turns out to be a contender, but the small-time syndicate is the real story, an inspiring tale heard, as it were, straight from the horse’s mouth.
  25. Fiennes really shines here, with an electric-cocaine vigour and lust for life.
  26. The film is filthy with nuanced moments of fierce, sweaty intimacy, all shot with a precise eye for detail. At the very least, it will make you rethink your next rodeo.
  27. It’s ripe to the point of bursting and, with a plot that tilts to melodrama, Davies flirts dangerously with cliché, creating an over-wrought period piece where every wheat field is bathed in golden sunlight and every childbirth is announced by chilling screams.
  28. For a while, it’s quietly meditative and riveting – worthy of the Palme d’Or it captured last spring in Cannes. But in the film’s final 10 minutes, Audiard lets his bombastic sensibilities loose, creating an over-the-top revenge tale that’s bewildering.

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