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. It's a Disaster
    The humour may not be wickedly black, but once in a while it’s amusingly beige.
  2. Oblivion
    Oblivion is an okay blockbuster, a multimillion-dollar exercise in competence.
    • 73 Metascore
    • 75 Critic Score
    Herman's House
    Herman's House is conventionally produced, but it does right by its two uncommon subjects.
  4. Laurence Anyways
    In a contest between passion and pretension, Laurence Anyways reaches a kind of draw. What holds up here isn’t Dolan’s overly decorative filmmaking, but what he gets from his performers.
  5. The Place Beyond the Pines
    Once again, Cianfrance handles the individual scenes with menacing aplomb but, once again, the whole is much less than the sum of its parts.
    • 76 Metascore
    • 75 Critic Score
    Like Someone in Love
    A delicate pearl of a movie, Like Someone in Love is thus a meditative dance along the ambiguous borders of truth and illusion. What, Kiarostami seems to be asking, can we actually see? What can we definitively know? Far less than we think.
    • 81 Metascore
    • 75 Critic Score
    Upstream Color
    Shane Carruth’s Upstream Color is a deliberate exercise in swooning obscurity. You either go with its considerable sensory powers or you scratch a groove on your head.
  8. Paris-Manhattan
    The premise of Paris-Manhattan is simple enough; unfortunately, so is everything else about writer-director Sophie Lellouche’s debut feature film.
  9. Trance
    Individually, Dawson and Cassel each generate plenty of screen heat, but, together in that one bedroom scene, their chemistry is downright explosive, so much so that it seems we have strayed into a whole different movie, and dearly want to stay there.
    • 64 Metascore
    • 63 Critic Score
    Renoir
    Gilles Bourdos’s film is more conventional than its mould-breaking subjects deserve.
  11. 42
    In the hallowed frames of 42, the legend is front and centre and still inspiring. Too bad the more interesting man is nowhere to be seen.
    • 55 Metascore
    • 50 Critic Score
    Antiviral
    For his feature film debut, Brandon Cronenberg has taken the decidedly uneasy route in more ways than one. First of all, Antiviral is a virtual panoply of high wooziness, replete with sweating, shakes, vomiting, rot-infected food and more needles piercing skin than rush hour at a free flu clinic.
  13. A Place at the Table
    Says the actor Jeff Bridges, a long-time and articulate soldier in the campaign against hunger: “It’s a problem that our government is ashamed of acknowledging. We’re in denial.”
    • 67 Metascore
    • 75 Critic Score
    The Sapphires
    The group’s lead singer is Julie (Jessica Mauboy, an Australian R&B singer and runner-up on the fourth season of Australian Idol). You could drive an Abrams tank through the film’s plot holes, but you’ll likely be too busy enjoying yourself to bother.
  15. Love, Marilyn
    Remove the comma from the title and Love, Marilyn plays like the command it is.
  16. Evil Dead
    So long as you grit your teeth and keep your eyes on the screen, it’s an enjoyable, if almost academic, exercise in bad taste.
  17. Eddie: The Sleepwalking Cannibal
    The movie ends up exactly what it sounds like: a good film for filling the midnight slot at a review cinema or genre festival.
  18. Emperor
    Aside from Jones’s broadly entertaining performance as the egotistical Supreme Commander, the movie, directed by Peter Webber (The Girl with the Pearl Earring), is a dud.
  19. Beyond the Hills
    If you long for the bleak intelligence of an Ingmar Bergman film, where humankind is deeply flawed and God is indifferently silent and the landscape is cloaked in perpetual winter, then Beyond the Hills promises to be your cup of despair.
  20. Spring Breakers
    Whether the film is uniquely brilliant or dismissively dumb is not the issue here. Either choice can (and will) be offered – it’s the choosing that counts.
  21. The Host
    Ronan, youthfully elegant as always, tries hard, but the material defeats her.
  22. G.I. Joe: Retaliation
    Feels like a five-year-old with a megaphone, excitedly yelling about his latest bulldozer-soldier-dinosaur smash-kill-squash-everything game.
  23. Yossi
    Yossi is an early spring breeze of a film – too delicate to be substantial but definitely holding the promise of warmth.
  24. Olympus Has Fallen
    Korean-American actor and former model Yune (who played a similar role in "Die Another Day," the last Pierce Brosnan James Bond film) makes a colourful villain – handsome and insufferably assured, and also an unchivalrous sadist who kicks around the Secretary of Defense (Melissa Leo in a pageboy wig) as though she’s a hacky sack.
  25. The Croods
    While paying lip service to the spirit of invention and adventure, the movie doesn’t do much for the evolution of children’s animated entertainment.
  26. Admission
    The result is a picture curiously yet intriguingly at odds with itself: One moment is edgy, the next is not; the cast is terrific, the direction is not; here it’s satirically sharp, there it’s sloppily sentimental; now we’re happily engaged, then we’re cruelly dumped. Some films are electric – Admission settles for alternating current.
  27. Caesar Must Die
    Not surprisingly, prison must be the perfect incubator of sadness and anger, because every one of the “performances” is astonishingly vivid. At the extremes of the emotional spectrum, at least, these guys are brilliant.
  28. Greedy Lying Bastards
    On the downside, Rosebraugh’s own film is too self-righteous and his attempts to play a humour-challenged, lightweight version of Michael Moore in front of the camera is a misfire. The climate-change deniers are comforting, though obviously wrong. Greedy Lying Bastards is grating, even if it’s right.
  29. Reincarnated
    The film is too slapdash and self-serving to take seriously (it’s release is timed to the precede thesame-named album’s release next month), but it’s a casually entertaining trip, aimed at fans of the charismatic rapper and his recreational substance of choice.
  30. No
    Take the backroom political machinations of "Lincoln," add in the showbiz sleight of hand of "Argo," and you’ll get something like No, a cunning and richly enjoyable combination of high-stakes drama and media satire.
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