The Globe and Mail (Toronto)'s Scores

For 6,714 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 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Wolf of Wall Street
Lowest review score: 0 A Haunted House 2
Score distribution:
6714 movie reviews
  1. The new Chip ‘N Dale: Rescue Rangers movie is a delightful, zippy and genuinely fun thing
  2. Men
    With Men, the British filmmaker is stubbornly needling his audience with a never-ending barrage of pointy-ended questions that he has neither the inclination nor intention of vaguely addressing or even thinking through on his own terms. Men is a riddle wrapped in a mystery inside an enigma, all scrawled in crayon.
  3. As a conversation-starter, though, Pleasure hits all the spots – and sometimes soars far beyond thanks to the work of Kappel, whose performance is absolutely committed, fearless and entrancing.
  4. The many stumbling blocks, setbacks and eventual (spoiler alert for a three-quarters-of-a-century-old war) triumphs of Operation Mincemeat are handled by a deft crew of real-life stiff-upper-lip types played by the finest U.K. actors working today.
  5. Happening is set in the sixties, but Diwan’s stark, unwavering direction, coupled with sparing costumes and cinematographer Laurent Tangy’s intimate lens, lend the film a sense of timelessness. The power of Happening is in the terrifying knowledge that Anne’s struggles could be happening to anyone, at any time.
  6. There may be a universe in which I feel the barest thread of emotional connection to even one thing that happens during the 126 minutes of loud, smeary nonsense that is Doctor Strange in the Multiverse of Madness. But I doubt it.
  7. The brutal, bloody and bare-chested revenge thriller is essentially one big, long war cry – a guttural, primal grunt of a movie that is all raging testosterone and incendiary machismo. And I loved nearly every minute of it.
  8. There are great things to be found in little packages, and Islands offers tremendous evidence that, if Edralin might ever be given more than the bare minimum of resources, the director will create something gigantic.
  9. A cheap, crass and ruthlessly sloppy skewering of celebrity culture that is barely a millimetre above the material it thinks it is so sharply satirizing, Gormican’s new film is the definition of disappointment.
  10. An icy Sarah Gadon can’t plumb it, offering a quietly mannered performance where a beautifully furrowed brow and occasional tear suggest the character cares more about looking elegant than dying. Thankfully, in the warmer roles of Yoli and her resilient Mennonite mother, Alison Pill and Mare Winningham do find the big broken heart at the core of this story.
  11. Paris, 13th District is not a revelation of a film, but it is a charismatic collection of moments worth spending time with.
  12. Ross’s formulaic direction could have been delivered by a robot or algorithm and nobody would have noticed. Watching Father Stu feels like enduring a B-movie that would never see the inside of a cinema (the film is playing exclusively in theatres) and be instead relegated to the bottom of a streaming or VOD queue – only it holds the star power and charisma of Wahlberg.
  13. Unlike the first movie, where aspects of the video game were more seamlessly integrated into the plot, Sonic 2 relies more on generic themes such as friendship and loyalty, as well as what makes a hero.
  14. It takes you on an emotional, uplifting journey across many countries and through civil unrest, with music ultimately winning out over dark forces that would otherwise challenge and limit free expression and art.
  15. Ambulance is here to remind you of the head-spinning delights of watching a genuine cinematic madman at work. This is eye-popping, ear-splitting, guffaw-inducing stuff that makes Red Notice look like the dumpster juice it truly is.
    • tbd Metascore
    • 60 Critic Score
    The viewer is left feeling like they’ve been sitting in a double-decker tour bus: You’re exposed to a lot, but it’s all surface level.
  16. Triumphantly, Young’s work with her ever-changing (and aging) character succeeds in bringing a complicated and resilient character to life.
  17. The nostalgia quotient might be indulgent overload for some, though catnip for others.
  18. It is a film that asks audiences to take the plunge into chaos and confusion, so that we’re able to fully see the innate humanity of what remains when the dust of it all settles.
  19. The White Fortress is a startling, hypnotizing, but above all haunting work destined to linger.
  20. Roth (who reunites here with his Chronic director) manages to find a peculiar amount of pain in a man sleepwalking through life. It might be the best work of the actor’s long career – or at least the most carefully controlled.
  21. Knives has just enough expensive style, steamy sex, and wild plot contrivances to hold your attention.
  22. While his character is intended to be lost and powerless, Pine seems adrift in another way, too – a star without a proper star vehicle.
  23. Featuring standout performances from Landry Jones and Davis, Nitram is uncomfortable, demanding viewing. It is the kind of work that presses on a nerve, begging you to stand up or tune out, but compelling you forward nonetheless – with its haunting portrayal of our all too boring capacity for inflicting pain.
  24. It is all extraordinarily interminable, even if Yates and company had the good sense to swap out Johnny Depp for Mikkelsen this time around.
  25. There is semi-purpose and not insignificant pleasure to be had in Apatow’s experiment. The Netflix production isn’t the comedy kingmaker’s best film by a wide margin (though it is his shortest, which still isn’t saying much), but it works in spite of itself.
  26. It is charmless, incoherent, ugly and so aggressively stupid that it defies any attempt to shove it into the desperate “guilty pleasure” box.
  27. The Lost City believes it is a lot more fun than it actually is. The movie isn’t a guilty pleasure so much as a pleasure-lite guilt trip – a relentlessly and eventually exhausting middle-ground effort that is made all the more frustrating because it is so very close to reaching the platonic ideal of shlock.
  28. Ver Linden has the potential to twist and upend expectations – to play with genre and character in a way that reworks and remixes both film history and storytelling. Instead, she spends the majority of her film’s runtime vaguely approaching those intentions rather than actually materializing them. It is a tiring series of runarounds that viewers will lose patience for.
  29. X
    West’s direction is exacting and rigorous. From the filmmaker’s more formal experimentations right down to the soundtrack, which is perfect, X feels like the exact movie its maker set out to create. Also on the money is Mia Goth’s performance as Maxine, a starry-eyed ingenue who is equal parts ordinary and glittering in her ambition and sexuality.

Top Trailers