The Globe and Mail (Toronto)'s Scores

For 5,023 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Winter Sleep
Lowest review score: 0 The Hangover Part III
Score distribution:
5023 movie reviews
  1. The formula is a bit too neat and the dialogue is often painfully expository, but there are some fine performances – especially from Gillian Anderson as the earnest Lady Mountbatten – and plenty of compelling drama.
  2. Doesn't quite reach the heights of the original film, which found surprising pathos in Doug's tale of sweet good guy to brutal goon. But it delivers on nearly every other scale, including standout performances from returning players Scott, Alison Pill and Liev Schreiber, as well as some bits of comic gold courtesy of series rookies Wyatt Russell, T.J. Miller and Jason Jones.
  3. Director Marc Webb proved he could do youthful love and heartbreak as well as anyone in his debut feature (500) Days of Summer. Here, working with a script by Allan Loeb (The Space Between Us, Collateral Beauty), he puts all the pieces together, but can't make the magic happen.
  4. Bushwick is an unpolished work, but there's an adrenalin charge, sure thing. It's close combat and it's closer than most Americans might wish to believe.
  5. Trueba, 62, has reassembled a lot of the old cast, most of whom play characters trying to recapture old magic. Make of that what you will. It's fun.
  6. Patti Cake$ for the most part avoids feeling like a song you've heard before. It's too big-hearted and genuine not to love.
    • 35 Metascore
    • 38 Critic Score
    Xia's humble sifu lends more gravitas than this dreck deserves, and a rousing, improbable finale in which Lee and Man take on the mob together offers some great fight choreography, but it's all too little, too late.
  7. Tense, immersive and excellently assaulting, Good Time is hella time.
  8. Much to an audience's discomfort, Ingrid's desperation to bond with the phony Taylor soon breaks the bounds of sanity – until the film rebukes her warped world view with a highly moral ending. The critique is clever but the limit is the one so common in satire: it's hard to care about the fate of a character this exaggerated.
  9. The elegant, condensed saga covers a dozen years, starting in 1933. You don't need to be an Einstein to guess where the story is heading. An evocative, slow-blooming feature is a study on the flash horrors of war and the gradual death of dreams.
  10. The film hits a truly unexpected high when it introduces Daniel Craig's bank-vault expert Joe Bang, an imprisoned force of comic fury whose unhinged performance elevates Logan Lucky above any notions of genre shtick. Good luck keeping that one locked up.
  11. This is Road Runner and Wile E. Coyote territory. How are we to reconcile such images with righteous vengeance wreaked on a genocidal war criminal? Not even a busload of popes could make moral sense of this one.
  12. The news behind the understated drama Menashe is that it’s a rare thing, a film performed in Yiddish, covertly shot in Brooklyn’s guarded Hasidic community.
    • 81 Metascore
    • 75 Critic Score
    The mentors and the mothers are just as important as the dance routines. Step is a story about relationships. And how even the most challenging family ties shape us into the people we are destined to become.
  13. Sheridan knows how to craft a tidy whodunit – and a late-act switch in perspective works better than it should – but he eventually leans toward sermonizing instead of storytelling, a well-intentioned move that edges the story just this close to melodrama.
  14. Over all, the food porn was played down, the series is getting a little road-weary and who knows what happens with these guys next. If they’re thinking about heading to France, a horny Frenchman has some good advice: Paris can wait.
    • 36 Metascore
    • 50 Critic Score
    Inventive and vibrant action sequences boasting exceptional 3-D effects and inspired voice casting (including Jackie Chan as a warrior mouse and Peter Stormare as a deranged exterminator) help to elevate this to something better than vaporous.
  15. The movie, which banks on the popularity of the rest of the series rather than concern itself with details such as motive, doesn’t add up to much. Annabelle: Creation is a series of slowly opened doors and close-ups of a truly ugly doll whose makeup must have been done in the dark by a deranged artist similarly possessed.
  16. The fault in the film lies as much with Cretton’s script, which he co-wrote with Andrew Lanham, as it does with his direction.
  17. Dad’s suspected infidelity is the tension in a film that hammers its nineties setting so relentlessly it could be called Sex, Lies and Videotape (and Floppy Disks and Payphones).
  18. An oddball charmer of a motion picture about nostalgia, the pursuit of artistic passion and a coming of age bizarrely delayed and uniquely fulfilled. The bear itself is but a bit player.
    • 34 Metascore
    • 63 Critic Score
    The Dark Tower is King’s ultimate roller coaster – twisting and stomach-clenching and terrifying but, above all, fun. If only this version was as thrilling a ride.
  19. And that’s how Detroit unfolds: like a horror film. The film flattens its historical personages and its particularities of time-and-place into excruciating exploitation – somewhere between a Straw Dogs-style “survive the night” home invasion narrative, Milgram experiment moral problem play and racial torture porn.
  20. This film is about giving credit where previously neglected credit is due. “You wouldn’t let us talk about it before,” Robertson says at the end of the doc. “But now I’m going to talk about it real loud.” No volume is too much at this point.
  21. The brazenness of her actions and opacity of her emotions suggest a tragic heroine in the grand tradition – the novel is the basis for the Shostakovich opera of the same title – but the film lacks the propulsive drive to make her fate moving.
  22. Atomic Blonde is bold, brazen and frequently bonkers. But it’s also killer.
    • 70 Metascore
    • 75 Critic Score
    However you feel about commercial dog sledding, Fern Levitt’s Sled Dogs is bound to rankle – either because of the material itself or the filmmaker’s take.
  23. As entertainment, the film is pedantic and over-dramatic, with the string section working overtime on the soundtrack.
  24. If you’ve ever loved anyone or anything, A Ghost Story is going to break your heart. It is devastating – and devastatingly good.
  25. There is no raunchier, more raucous, filthy and truly crass movie out this summer than Girls Trip – and I loved every minute of it.

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