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 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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    • 70 Metascore
    • 88 Critic Score
    Captain America: The Winter Soldier
    What it comes down to is the difference between spectacle and craftsmanship. The Winter Soldier has plenty of the former – every dollar of its estimated $170-million (U.S.) budget is onscreen – but it’s also got an intricate dramatic and thematic structure holding everything in place.
  2. Bethlehem
    As a story about a war that is unresolved, it seems better suited to a provisional “To be continued” than the certainty of “The end.”
    • 69 Metascore
    • 75 Critic Score
    The Unknown Known
    He’s a fox who’s used to being hounded by journalists, and as such he’s a very elusive subject for a documentary – even one by a filmmaker who’s renowned for getting his subjects to talk.
    • 56 Metascore
    • 50 Critic Score
    Afflicted
    The gradual ramping up of both the camera calisthenics and the gore quotient suggests a movie that’s been very deliberately paced, but that doesn’t mean that Afflicted really gets anywhere, except back to the very basics its state-of-the-art presentation is supposed to transcend.
    • 79 Metascore
    • 63 Critic Score
    Jodorowsky's Dune
    At its most heightened state of geek arousal, Frank Pavich’s Jodorowsky’s Dune imagines an alternate pop-cultural universe where an unmade movie changed everything.
    • 57 Metascore
    • 25 Critic Score
    Bad Words
    The laughs in this film are all mean-spirited or just frat-boy gross.
    • 47 Metascore
    • 63 Critic Score
    The Returned
    The Returned can’t transcend its packaging as a genre piece: It swaps out an entire set of horror-movie manoeuvres for trite, TV-style thriller tricks.
    • 75 Metascore
    • 75 Critic Score
    Finding Vivian Maier
    Some may find Finding Vivian Maier invasive, since Maloof and co-director Charlie Siskel delved into its namesake’s past after her death, but their curiosity is genuine rather than prurient; this is the rare example of a documentary about an enigmatic subject that doesn’t pretend to know all the answers.
    • 68 Metascore
    • 38 Critic Score
    Noah
    What could have made Noah work is the same sense of urgency – of fateful craziness – that made "Pi" so memorable, and which also factored into the fatal obsessions of "The Wrestler" and "Black Swan" (two very flawed movies that admittedly benefited from stronger lead performances than the one here).
    • 76 Metascore
    • 75 Critic Score
    The Lunchbox
    If co-writer and director Ritesh Batra occasionally takes his sweet time getting from point A to point B, it’s equally true that he gives the audience a nice, comfortable ride.
  11. Nymphomaniac: Volume II
    Volume 2 picks up the story with an older Joe, now played by Gainsbourg, with her watchful sad face showing the character’s unsatisfied hunger. It seems more von Trier’s script than any great social taboos that cause Joe to go into free fall in a world that becomes more kinky and sinister.
  12. Nymphomaniac: Volume I
    Easily the best scene of Nymphomaniac occurs in the first two hours, when Joe finds herself the other woman in a marriage breakup.
  13. Divergent
    At almost 21/2 hours, Divergent is repetitiously brutal and drab, with sets that resemble warehouses and industrial junkyards; the action rarely emerges into the daylight before the climactic gun battle.
  14. Muppets Most Wanted
    The crimes and Gervais and Fey’s performances get stale quickly, though the song-and-dance numbers are fairly clever.
  15. Stay
    A spring-autumn romance that comes with side helpings of local colour and melodramatic backstory.
  16. Need For Speed
    Every stage of the race and chase is announced on a webcast conducted by the secret impresario of the illegal De Leon race, a billionaire car enthusiast known as the Monarch, who “nobody knows.” Actually, the Monarch is clearly visible in a corner of the computer screen and he’s played, with jive-spouting brio by Michael Keaton. Hey, the movie isn’t called Need for Logic.
    • 62 Metascore
    • 63 Critic Score
    Veronica Mars
    As a moviegoer, I have to say that that broader success isn’t earned here. You are much better off getting the Season 1 DVD to understand why many of us invested emotionally and financially in this tiny, annoying blonde, whose sparky banter is just a counterweight to her vertigo in a world forever upside down.
  18. A Field in England
    Over all, A Field in England aims to confound. The filth-encrusted characters aren’t easy to keep apart, and the narrative is too fragmentary and freakish to grasp (the sun turns black, a character vomits rune stones).
  19. The Grand Budapest Hotel
    From the start, it’s clear Anderson is working with a new sophistication both in the vocabulary and structure of the film’s voiceover narrations.
    • 61 Metascore
    • 75 Critic Score
    Enemy
    Shot before the Canadian director made the major-studio, suburban-vigilante drama "Prisoners," Enemy operates on a level of carefully calibrated unease, where the very elusiveness of motivation and logic is exploited for purposes of sustained cinematic disorientation.
  21. The Art of the Steal
    As is often the case in these caper flicks, there’s too much plot for insufficient dramatic effect, and alert viewers will suss out where it’s all heading in the first five minutes.
  22. Particle Fever
    Their excitement is infectious and the entire endeavour both mind-bending and tremendously human: Near the end, Peter Higgs, the recent Nobel Prize-winner and one of the scientists who first predicted the particle back in 1964, is seen in Switzerland watching the data results come in, while a tear trickles down his cheek.
    • 73 Metascore
    • 75 Critic Score
    Like Father, Like Son
    While the case could be made that Koreeda is merely replicating the world as the blinkered Ryota sees it, the disparity between the characters’ development still leaves you feeling slightly cheated, if only because you want to see more of what this truly gifted student of human behaviour might do with them.
  24. Mr. Peabody & Sherman
    Parents will get the historical jokes but are unlikely to be amused; kids won’t get them, but might laugh anyway.
    • 48 Metascore
    • 38 Critic Score
    300: Rise of an Empire
    By throwing herself headfirst into scenes that a more cautious actress might beg off, Green earns herself a citation for valour – a Purple Heart in a movie that’s otherwise way too grim and grey for its own good.
  26. Stalingrad
    Overall, Stalingrad is a bizarre concoction, part Putin-era patriotic chest-thumping and part creaky war melodrama, all set in a superbly recreated ruined city.
  27. Omar
    Whether Omar will ultimately serve to change or harden hearts remains ambiguous, though it’s a movie that’s entertaining enough to appeal to the kinds of ordinary kids we see in the movie.
    • 37 Metascore
    • 50 Critic Score
    Son of God
    So yes, if you’ve seen "The Bible," you’ve already seen most of Son of God – but if there’s one story where spoilers just don’t apply, it’s the Greatest One Ever Told.
  29. Money for Nothing: Inside the Federal Reserve
    Actor Liev Schreiber’s voice-over narration is filled with sonorous urgency, but as the film’s commentators acknowledge, some ideas are a hard sell: How do politicians and regulators convince the public on the benefits of a financial diet when a spending spree sounds much more fun?
  30. Tim's Vermeer
    Johannes Vermeer is still a genius at documentary’s end but a fathomable genius, as much scientist as artist, a driven, resourceful creator whose conceptual and compositional brilliance remains undiminished by whatever techniques Jenison, Hockney and crew ascribe to him.
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