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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  1. Love Is All You Need
    As the title more than hints, Love Is All You Need is no stranger to formulaic clichés, but it’s still a Bier film. There’s a sprinkling of vinegar in the treacle, a bit of ballast in fancy’s lightweight flight, and, of course, the triumph of optimism that can seem unearned in her dramas is made to measure in a comedy.
  2. Epic
    There’s a worrisome failure of imagination at work in the title of this movie. It’s actually hard to imagine a more generic title. But at least it’s succinct. It rolls off the tongue much better than Movie That Feels Not So Much Inspired As Engineered According to Conventional Animated Kids’ Genre Requirements.
    • 61 Metascore
    • 75 Critic Score
    Fast & Furious 6
    The post-end-credits introduction of another bullet-headed genre-flick icon as the possible villain for the next instalment (already slated for production) means that Johnson may finally get a worthy foil. So: Same time next year, then?
  4. The Hangover Part III
    Not just bad, but weirdly, fascinatingly bad.
    • 76 Metascore
    • 75 Critic Score
    Mud
    So yes, Mud is messy, but it’s also rich and earthy in a way that suggests a filmmaker who is deeply immersed in his story, his characters and his surroundings.
  6. The We and the I
    Still, credit Gondry, like Tocqueville before him, with at least re-examining tired clichés and scraping the rust off stereotypes.
    • 60 Metascore
    • 50 Critic Score
    The Iceman
    Michael Shannon is an overpowering actor, and in The Iceman, the best that he can do is wrestle the movie around him to a stalemate.
    • 54 Metascore
    • 50 Critic Score
    The Reluctant Fundamentalist
    It’s a timely narrative subject, but its treatment in The Reluctant Fundamentalist is fundamentally flawed.
  9. Greetings from Tim Buckley
    Director Dan Algrant’s conceit here is to take an actual event – a tribute concert for Tim held at a Brooklyn church in 1991, the concert that sparked Jeff’s own career – and wrap a fictionalized drama around it.
    • 66 Metascore
    • 50 Critic Score
    The Angels' Share
    There might be a pretty good film lurking in this latest dramedy from the veteran Scottish directing-writing team of Ken Loach and Paul Laverty. I use the conditional because at least half the dialogue is delivered in a Glaswegian Scots so thick, it might as well have been Urdu.
    • 55 Metascore
    • 88 Critic Score
    Scatter My Ashes at Bergdorf's
    Do you need to see this film? No. But if you want to see it, you’re in for a treat.
  12. Star Trek Into Darkness
    For those who enjoyed J.J. Abrams’s frisky relaunch of Star Trek back in 2009, the good news is that the new Star Trek Into Darkness is more of the same. The bad news is that Star Trek Into Darkness is, well, a bit too familiar.
    • 66 Metascore
    • 63 Critic Score
    Byzantium
    Female-forward and class-conscious, allegorical and adventurous, Byzantium is almost the anti-Batman.
  14. Hannah Arendt
    En route, despite some clumsy exposition and the reduction of heavyweights like Mary McCarthy and William Shawn to fifth-business caricatures, the film does manage one impressive intellectual achievement of its own: rescuing that “banality of evil” phrase from the banal cliché it’s become and, by providing the full and daring context, giving it real meaning again.
    • 80 Metascore
    • 100 Critic Score
    Berberian Sound Studio
    Director Peter Strickland brilliantly ratchets up the tension without showing a single frame of the grisly film.
  16. At Any Price
    What remains “indie” about At Any Price is that this is an unabashed social-message film – one that plays out like a cross between the agribusiness exposé "Food, Inc." and Arthur Miller’s "Death of a Salesman."
    • 75 Metascore
    • 75 Critic Score
    Graceland
    The overwhelming sense of physical and moral decay could be taken for social commentary, and if Graceland has a flaw, it’s that Morales gradually starts to overstate his case as the movie goes on.
  18. Room 237
    Are these enlightened critics or dark nutcases themselves?
  19. Peeples
    It’s a shame that two gifted comedians weren’t given better material to work with.
  20. The Great Gatsby
    It’s a terrific adaptation that succeeds not only as a work of cinema but also, wonderfully, as proof of the novel’s greatness. In short, the picture rebukes the revisionists even while entertaining them.
  21. The World Before Her
    A thought-provoking film that examines women’s limited choices in a patriarchal country reeling from the contradictions of rapid modernization.
  22. Kon-Tiki
    In a kind of perverse alchemy, this film manages to turn that narrative gold into dross, and reduce the daunting perils of a 4,300-mile voyage to a ho-hum checklist. Welcome to the reverse magic of the movies.
  23. Iron Man 3
    The real question for audiences isn’t whether Tony Stark/Iron Man defeats the latest supervillain (of course he does), but whether the movie itself rises above the dreaded third-in-a-sequel torpor of "Spider-Man" and "The Dark Knight." Spoiler alert: Yes, mostly, it does.
    • 39 Metascore
    • 50 Critic Score
    Tai Chi Hero
    As the middle part of a proposed trilogy, Tai Chi Hero may ultimately look better in light of its own sequel (which, based on the evidence here, will double-down on the steampunk stuff), but now, its pitched battle between silliness and solemnity feels like a split decision.
  25. The Company You Keep
    In The Company You Keep, old radicals never die – they just turn into old actors.
  26. Upside Down
    Upside Down is no more than one big-budget, gussied-up fairy tale – a topsy-turvy Romeo and Juliet.
  27. Pain & Gain
    The script’s occasional gestures toward making this an allegory of the failed American dream are extremely unconvincing in the context of a movie that revels in the excesses of macho culture while laughing at the hapless and stupid who can’t get it right.
  28. The Big Wedding
    It’s just such a shining example of a dull studio comedy.
    • 58 Metascore
    • 63 Critic Score
    To the Wonder
    Apparently, whole layers of the projected storyline did not survive the editing suite. Actors Rachel Weisz, Michael Sheen, Barry Pepper and Amanda Peet were all part of the original script. Their footage ended on the cutting-room floor. Lucky them.
    • 58 Metascore
    • 75 Critic Score
    Wrong
    Truth be told, Wrong isn’t as funny as "Rubber," which played kamikaze games with horror-movie tropes. The tone here is flatter and more meandering, and more than a few of Dupieux’s digressions feel like dead ends. At the same time, there’s a winning confidence to the filmmaking, which is deceptively stylish.
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