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. A Perfect Day
    A Perfect Day, the first English-language feature from the Spanish director Fernando Leon de Aranoa, is in many ways a remarkable film: a taut, darkly comic drama about the dilemmas of international intervention in civil war, all of it neatly symbolized by one elusive length of rope. It is also, sadly, a film much marred by its sexism.
  2. Where to Invade Next
    It’s frequently funny and entertaining enough, but its insights are far from revolutionary.
  3. Eddie the Eagle
    It is a rare biopic of any kind, let alone a sports bio, that merely celebrates participation. It’s that novelty that makes this simple comedy shine.
  4. Gods of Egypt
    It’s all quest, flash and high action.
  5. Triple 9
    Though compelling in the acting and cinematography, Triple 9’s plot is by the numbers and about nothing.
  6. Only Yesterday (1991)
    A butterfly metaphor is employed by the time-flipping Takahata, a filmmaker whose delightful Only Yesterday took 25 years to arrive right on time.
    • 73 Metascore
    • 75 Critic Score
    The Club
    Even with Pablo Larrain’s signature insights hidden in quiet and seemingly simple dialogue, and even with hints of his trademark dark humour, The Club may be one of the Chilean director’s most disturbing films.
  8. Embrace of the Serpent
    Colombian filmmaker Ciro Guerra’s reimagining of the lives of lost peoples is compelling, but, despite many languorous images of river and jungle, this remains a bookish examination of the themes.
  9. Touched With Fire
    Dalio’s script doesn’t always flow as smoothly as the camera work, but an air of calm authenticity should leave audiences touched, in a good way.
  10. Risen
    Any hope that the clever concept behind Risen might produce a clever movie is thrown to the ground, where it lies quivering for the next hour or so, before expiring noisily in the film’s second half.
  11. Race
    Having managed Berlin rather gracefully, Race often plods along the home front.
  12. The Witch
    Disturbing and taut, Eggers’s direction is almost without fault. His only mistake lies in the film’s final 30 seconds, where all the implied horror of the family’s plight becomes just a shade too explicit.
  13. Snowtime!
    The colourful film of course is allegorical: Peace is tough and tedious; war is an easy solution. And while the kids’ enthusiasm for battle wanes, pint-sized audiences will likely remain engaged.
  14. Lazer Team
    The comedy is sophomoric and sort-of spoofy; satire happens here and there.
  15. JeruZalem
    The filmmakers score half a point for at least avoiding the old “hero-who’s-constantly-filming” device, but fail to add anything else to the proceedings, except, perhaps, the movie’s unique setting.
  16. The Finest Hours
    There’s nothing subtle about The Finest Hours, but much that is satisfying.
  17. Kung Fu Panda 3
    From a sympathetic perspective, let me say that sequel No. 3 shows how difficult it is to keep these franchises fresh while remaining true to their initial charm.
  18. A Date with Miss Fortune
    [An] occasionally cute romantic comedy.
  19. The Choice
    The Choice’s best attractions are the talented Benjamin Walker and the watery, small-town North Carolina scenery.
  20. The Lady in the Van
    Smith is never more beloved than when she plays just this sort of curmudgeon. Happily for the movie, Bennett’s Lady is the cantankerous one the performer was most born to play.
  21. Janis: Little Girl Blue
    Comparisons of Janis: Little Girl Blue have been made to Asif Kapadia’s touching 2015 documentary on singer Amy Winehouse, but in Amy we don’t see a subject as remorseful as the Joplin presented by Berg.
  22. Pride and Prejudice and Zombies
    Steers can compose and capture a shot fine enough, but seems otherwise bored to be here. Each of his scenes collide lazily against the next; transitions are rushed and often ugly, and the director never seems to know what emotions he should be steering his cast toward.
  23. Mojave
    Isaac pulls a full Tom Hardy by adopting a weirdo voice, awkward mannerisms and unknown motivations in a bid to give life to a villain who is, in his own words, pure “motiveless malignancy.” It doesn’t work, nor does anything else in this so-bad-it’s-good-no-wait-still-bad mess from William Monahan.
  24. Rams
    There’s lots of wisdom here, but in the Icelandic barrens, good cheer has sometimes gone missing. Yes, there’s a price to pay for being stubborn.
  25. Nina Forever
    The film’s bizarre, gore-soaked premise actually manages to ease viewers into the far more uncomfortable topic of grief – after all, dying is easy, but living with death is much more complicated.
  26. Mavis!
    It’s short on personal details and instead focuses on the performer’s vocation. And when the concert footage slows the doc’s energy down, Mavis’s zest adds buoyancy to the proceedings.
    • 51 Metascore
    • 50 Critic Score
    How to Be Single
    How to Be Single at least marshals its surfeit of incident in service of a point of view that prizes individual fulfillment – in whatever form that may take – over idealized portrayals of courtship and coupledom. However clumsily delivered, it remains a message worth taking to heart.
  28. Zoolander 2
    Zoolander 2 feels like a hasty collection of last-minute comedy panic attacks.
  29. Deadpool
    First-time feature director Tim Miller has created a work that’s both aggressive and not aggressive enough.
    • 75 Metascore
    • 88 Critic Score
    Diamond Tongues
    Goldstein...is excellent in the role, rendering Edith’s monstrous ambition with relatable (and frequently terrifying) conviction.
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