The Globe and Mail (Toronto)'s Scores

For 6,371 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 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 A Private War
Lowest review score: 0 Independence Day: Resurgence
Score distribution:
6371 movie reviews
  1. The plot could have benefited from some sort of subversion – something to make the familiar trope of a dysfunctional family wedding a little less predictable.
  2. Tender, topical and well-crafted, No Ordinary Man is no ordinary film.
    • 78 Metascore
    • 80 Critic Score
    Sugar Daddy will be gripping viewing for anyone who wonders what it takes to make it – and whether it’s all worth it in the end.
  3. With the exception of a few demented scenes teleported over from a stranger, better comedy . . . Thunder Force is as sloppy and disappointing as the label “A Ben Falcone Film” previously suggested.
    • 97 Metascore
    • 88 Critic Score
    It’s all too common for history to remember victims as numbers, but Quo Vadis, Aida? counters this, offering instead an eye-opening and deeply felt personal portrait of tragedy.
    • 46 Metascore
    • 63 Critic Score
    The film is scary not in its extraordinary imaginings but in the mundane familiarity that underpins those imaginings.
  4. Simply put, I didn’t care for a single person or situation on-screen, and Jacobs’s curiously unconfident and drab direction, which is in desperate need of tighter editing, only hastened my growing annoyance.
  5. Eventually, The Unholy reveals itself not to be an entertaining ride to Hell but an earnest sales pitch for the power of Christ. Fair enough. But for Easter 2021, I was hoping for something a little more enjoyably demonic and less been-there-redeemed-that. Let us pray.
  6. The photography is elegant, but nothing else is. With action that is standard and not at all tense, the melodrama is much higher than the reward.
  7. A compelling, if ultimately predictable, coming-of-age drama.
  8. Godzilla vs. Kong is a ridiculous movie made even more ridiculous by a distinct lack of care in its conception and execution. But it is also the kind of cinematic assault that delivers just the right jolt to the most base sensibilities hiding within our lizard brains. You walk away dazed but bemused.
  9. There are immense, leisurely pleasures to be found in The Courier, which presents a familiar spy-versus-spy drama in a familiar way. Which is fine: So long as you’re not expecting subversion or surprise, you can gently sink yourself into director Dominic Cooke’s intentionally, pleasantly lukewarm waters and come out the other side refreshed and squeaky-clean.
  10. Of course, sexism in any realm is hardly shocking. But Lee presents her argument in such a clear and empathetic way that you’re not only enraged by the state of the genre, but how the women we meet are still fighting a fight that’s hurting us all.
  11. While the situation is played for dark laughs, Odenkirk’s commitment to the role is dead serious. He makes its ridiculousness believable. By the end of Nobody, I wanted desperately for the producers of the next Fast & Furious film to cast Odenkirk as the muscle-car-driving villain. In your heart of hearts, you know it would work, too.
  12. The dead-seriousness with which Sims-Fewer and Mancinelli approach their subject is admirable, as is the former’s unsettling lead performance. And you won’t find another film this year that subverts the male gaze in such a brutally naked manner.
    • 40 Metascore
    • 25 Critic Score
    While the film is awful, Jarecki’s approach to filmmaking is still paint-by-numbers watchable, solely because the genre is familiar. The director has clearly watched enough movies to understand that pool halls and dive bars are good places for gangsters to hang out, that seedy deals happen in motel rooms and that a mother’s love is stronger than any other earthly force.
  13. It is still by no means a great film, even compared against the standards of contemporary superhero cinema, which is bleeding any sense of individual artistry and purpose each passing year. But it is a wild, invigorating experiment to experience.
  14. With a fine balance of winking absurdity and wry humour – Cohen would tip his fedora to the born-and-raised Montrealer Bissonnette on that score – Death of a Ladies’ Man is a charming study of a man in crisis. It’s serious here and funny there.
  15. Ultimately, Yes Day doesn’t commit to either being a full-out family fun movie or a family drama.
  16. It’s bloody, brutal, stupid fun – until it isn’t. Either running out of ideas or running into budgetary problems, Carnahan slows things down about halfway in, stopping the madness in its tracks to give Roy some humanity (not needed here, but thanks!) and to give audiences some yadda-yadda villainy from a bored-looking, here-for-the-paycheque Gibson (also, no thank you!).
  17. Norbit was memorably offensive. Coming 2 America is merely offensively forgettable.
  18. It’s tricky to give such a layered glimpse of high school in a movie that keeps its pace at a decent click. And while Moxie is just a small snapshot of those weird and wonderful years, it gives viewers a decent lesson in how to be an ally, without being preachy about it.
    • 83 Metascore
    • 85 Critic Score
    By handing the spotlight, and even the camera, over to the bold and beautiful Zeytin without guiding the viewer too aggressively, Lo has created something worth seeking out for anyone who wants to expand their world view – and perhaps also lower it a few feet.
    • 53 Metascore
    • 70 Critic Score
    Boogie is, finally, Huang’s cinematic realization of his dream, a debut filmmaker’s warts and all.
  19. While Macdonald manages to come up with one of the most impressively brutal cut-to-black endings in recent memory, the rest of this feature cannot hope to match the power of his cast.
  20. Director Maria Sodahl tracks the couple’s story over the course of only one Christmas break, but the film is more a chronicle of one family’s entire existence. Skarsgard, by the way, is typically excellent – it’s just that he mostly, and graciously, cedes the screen to Hovig, who is given much more to do and handles it with aplomb.
  21. After watching the film twice in quick succession – a futile attempt at catching a glimpse of what usually makes a Falardeau film so immensely watchable (see the Quebecois filmmaker’s Monsieur Lazhar, The Good Lie, My Internship in Canada and Chuck) – My Salinger Year ultimately lands as a mere footnote.
  22. Any excuse to tune out the real world and escape into a fantasy land is welcome – especially through a film that’s about trust and the loving bond between family and friends, and also manages to deliver a couple of solid laughs in between.
  23. The heart of the needlessly lengthy 140-minute film is Eilish’s support system, which is to say her family – a screenwriter mother, a construction worker father and her older brother/producer/songwriting partner Finneas O’Connell. They’re all grounded, thoughtful and dedicated to the protection of a self-loathing teen who is coming of age in front of the world.
  24. Cherry is a mess. Nonsensically stylized, wildly overlong and constantly mistaking yelling for dramatic tension, the film unintentionally underlines everything that made the Russos’ Avengers films so sloppy .

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