The Globe and Mail (Toronto)'s Scores

For 5,140 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Moolaadé
Lowest review score: 0 The Toy
Score distribution:
5140 movie reviews
  1. There’s no doubt that the world needs more iconoclasts, whistle-blowers and anti-authoritarian rabble-rousers. But it deserves better than Julian Assange.
    • 63 Metascore
    • 63 Critic Score
    If you appreciate a writer/director and actor who swing for the fences and chase after big questions (Are we cogs in the machine of the universe? If so, can we alter our fate? Or is everything super random?), this has a dreamlike beauty that may catch you in its spell.
  2. Handled by veteran Scottish director Michael Caton-Jones, Urban Hymn is an unimaginative drama, carried by solid acting – Isabella Laughland is chilling as the possessive, menacing Leanne – but let down by an unspectacular script.
  3. Snatched piles bad ideas on good ideas and lame bits of gross-out humour on genuinely funny bits of character work, without ever building enough dramatic force or comic energy to craft a full movie from the results.
  4. Some might find it stimulating. Others will find it bonkers. Watching Jude Law do a slow-motion howl, for example, is certainly … something.
  5. Ultimately this political film’s sentimentality and transparency detract from its power.
    • 68 Metascore
    • 75 Critic Score
    The result is an oddly compelling documentary that sheds light on an important – albeit forgotten – cornerstone of modern, contemporary cuisine.
  6. Besides psychological drama, besides thriller, social satire is another significant element in this sometimes erratic film and it’s one that, surprisingly and belatedly, rises to the top: Anyone who started out thinking The Dinner was a thriller will probably be disappointed when the evening wraps up with an ending that is more farce than denouement.
  7. The sequel is often loud, occasionally obnoxious and so consistently convinced of its own awesomeness that it will not, it cannot, stop pointing out everything that makes it so utterly wonderful.
  8. In a demanding role light on dialogue, Sutherland’s rangy, loping physicality serves both the character and the action well – camera and fugitive are seldom at rest, and on the move in tense, extended bursts whenever an opportunity presents itself.
  9. The plot, for instance, doesn’t make all that much sense, what with its heroic space chimps and evil space apes and sly space foxes, all of whom don’t seem to realize what a half-baked narrative they’re operating in.
    • 75 Metascore
    • 75 Critic Score
    Gere delightfully soft-shoes his way through Norman, surfacing the character’s loneliness without unduly exploiting it.
  10. The couple are the movie’s saving grace – especially Lillian, now 87, who regales in every story.
  11. There is something of the charming first novel to Victoria Day: It's a small film focused on a teenage passage. It is intensely well observed, but somewhat lacking in drama. It is lightly nostalgic about its moment in history. It's probably autobiographical. And it doesn't have much of an ending.
  12. Natasha is, in fact, a deceptive and delicate coming-of-age piece – deceptive because it exposes a troubling underside, delicate because it does so with a measured and quiet intelligence.
  13. Gould’s excellent documentary captures this elasticity, stretching the spectator to consider why bearing witness to a life collectively is so very worth the trouble.
  14. The film is simply unlike anything else to play theatres this year – a feat it will likely keep for the foreseeable future.
  15. Slipping in references to everyone from Kubrick to Fellini, Gray creates a truly intoxicating experience, overwhelming in the best possible way. It is this close to being an all-time classic, if only Charlie Hunnam’s central performance as Fawcett didn’t slip out of Gray’s period trappings every now and then (you can’t help but wonder what Gray’s long-time collaborator, Joaquin Phoenix, would have done with the role).
    • 49 Metascore
    • 63 Critic Score
    No disrespect to Le Bon, who is pleasant enough, but this kind of part should be a career-definer. Where is today’s Ingrid Bergman, Julie Christie or Diane Keaton? Blame those damned superhero pics, which, in appealing only to adolescent boys, have cost us a generation of actresses.
    • 70 Metascore
    • 88 Critic Score
    As a history of this war of ideas and as an introduction to Jacobs, the film is essential. But it also pivots toward a great challenge: today’s global urbanization.
  16. This is a mostly fun, over-the-top ode to the siege movie, as well as a love/hate letter to all things firearm-related.
  17. Unforgettable presents a surprisingly conservative view of mental illness, one that would feel more at home in the pearl-clutching milieu of Leave it to Beaver rather than modern day SoCal.
    • 57 Metascore
    • 63 Critic Score
    On the whole, it’s fine for what it is, and outside of baby panda cubs remaining some of the cutest things on the planet, the real attraction here is a glimpse at the reclusive snow leopard in its natural habitat.
  18. As for the winner and new champion, it has to be Kuosmanen, who never met a boxing-film cliché he couldn’t discreetly avoid.
  19. The wry observations of precocious pal Mary (Lena Dunham) and fierce Lunch Lady Lorraine (Susan Sarandon as a gruff optimist) make for a charming – and occasionally gruesome – disaster movie.
  20. Sharp drawing-room repartee interrogates the same decorum and morality as her poems, although the frequently epigrammatic dialogue is mannered, even for a period film.
    • 76 Metascore
    • 75 Critic Score
    Supporting turns by Bill Nighy, Rachael Stirling, Jack Lacy and Helen McCrory work to make Their Finest a testament to the familial nature that defined the film industry during the Second World War, as well as proof that it’s possible to breed joy in the midst of bleakness.
  21. The heart and mind of Maudie are always in the right place.
  22. If the fate of the Furious series is to grow somehow both wearier and dumber with age, then the eighth film is proof of a mission firmly accomplished. And there’s no shame, Vin, in hanging it all up after a job well done.
  23. Unlike Brian De Palma, Lynch is not a natural conversationalist, so the result is a stiched-together narrative that is as curious and occasionally frustrating as the man himself.

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