The Globe and Mail (Toronto)'s Scores

For 5,456 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Witches of Eastwick
Lowest review score: 0 Far and Away
Score distribution:
5456 movie reviews
    • 34 Metascore
    • 50 Critic Score
    Well, the Hood would never stand for it and neither should you. Defy authority and watch this movie on a plane instead.
  1. It’s a stew so thick with brand loyalty that you just might choke on all the intellectual property and consequential commerce.
  2. Whatever you normally do during the rousing finale of a Rocky movie. It will feel familiar, but just go with it.
    • 76 Metascore
    • 100 Critic Score
    Based on a Vanity Fair article by Marie Brenner, the film doesn’t flinch from Colvin’s driven, destructive side. But it’s best when she’s on the ground in a war zone, bearing witness.
  3. The result is a metaphor run amok, with a limp plot, implausible action and three barely sketched characters played drearily.
  4. The entire endeavour is so crass, sloppy, and infuriating (especially the “twist” ending, although the film contains no real ending at all) that it treads close to zero-star, brand-killing territory. But then Jude Law pops up all-too-briefly as a younger, sexier version of Albus Dumbledore, and everything seems mostly right with the Potter-verse. But the magic, it’s fleeting.
  5. However Buster Scruggs came to be, it highlights the best of the Coens' mordant minds, but not without tripping over a few unintended obstacles. Which probably suits the pair, always in awe of things never going right, just fine.
  6. Farrelly’s film is worth witnessing, especially given how it is now all but destined to dominate the awards conversation. But do yourself a favour: Each time your fellow moviegoers burst into applause, ask just who it is they’re clapping for.
    • 57 Metascore
    • 63 Critic Score
    At two hours, Instant Family is shorter than a Judd Apatow joint but far less funny or complex. It’s Sean Anders’s best movie.
  7. A great doc from Polsky; one more assist from Gretzky.
  8. A critic needs only two words to dispense with The Grinch; the first one is bah.
  9. Both leads fit their performances seamlessly into this destabilizing scheme, providing a provocative timelessness to the characters.
  10. It’s an intense and sharp opening that would impress Spielberg, if he could hear the dang thing. Nearly the entire movie is torpedoed by its cranked-to-11 sound mix, with a good chunk of dialogue drowned out by whirring airplanes and myriad explosions.
  11. It isn’t hard to find all the many ways in which this film exhausts both itself and Lisbeth. It is time, already, to give this Girl a rest.
  12. Focused on one cocky white student’s foray into the world of California battle rap, Bodied is at times vile in its content and bananas in its execution. But Kahn is not a mere shock artist, and as the film progresses and twists its perspective, it’s clear the director is playing a much deeper, more complicated and extremely messy game.
  13. The film is rich in such positive messaging, and its subjects quickly endear themselves to the camera.
    • 49 Metascore
    • 25 Critic Score
    For a film insistent upon getting the dramaturgically correct 1985 Pepsi logo into the frame, very little effort seems to have been applied to exactitude elsewhere. Freddie Mercury deserves better.
    • 39 Metascore
    • 50 Critic Score
    So the big question for the new Disney adaptation of The Nutcracker, sure to ride the wave of the ballet’s seasonal popularity: What’s to be done with the cumbersome story?
  14. Although Von Trotta skips around Bergman’s filmography a bit haphazardly, and touches upon his romantic proclivities in a frustratingly brief manner, there’s little room to go wrong when a film is seemingly 50 per cent composed of Bergman’s own footage.
  15. There are a lot of words that come to mind when watching Luca Guadagnino’s remake of Suspiria: beautiful, gross, overwhelming, frustrating, disturbing, powerful, long, gross, audacious, baffling, explicit, extravagant and did I mention gross?
  16. The action, when it does arrive, is quiet enough to send the most insomnia-plagued of audiences to sleep.
  17. Watanabe and Moore acquit themselves well (although the latter’s lip-syncing is questionable), but Bel Canto falls short of the operatic notes Weitz attempts to hit.
    • 87 Metascore
    • 75 Critic Score
    Coming out of the Toronto International Film Festival last month, critics were touting McCarthy as an Oscar nominee. Her work is nuanced and insightful, though it may not be showy enough for Academy voters.
  18. Most refreshingly, Johnny English Strikes Again is the rare secret-agent film that feels wholly unself-conscious.
  19. By exploiting the raw physical power of the Indonesian martial art called silat and then emptying buckets and buckets of fake blood upon your cast for kicks, filmmaker Timo Tjahjanto has birthed a monster of a movie, as brutal as it is hypnotic.
    • 81 Metascore
    • 50 Critic Score
    The acting is strong, but the uneven pacing means there is so much to absorb in the end, that it’s impossible to discern.
  20. Cedergren excels at balancing Asger’s cynical cool with his desire to help (or perhaps simply help himself), and the entire endeavour will leave you with a new-found respect for 911 operators.
  21. The cast is solid; Everett’s acting in particular is deep, indelible and award-worthy. We smell Oscar, one might say.
    • 82 Metascore
    • 63 Critic Score
    Shaping the rhetoric of black activism and black liberation into accessible and demographic-spanning prose is no easy task. It is work which must be undertaken with intelligence, care and, above all, experience. It is no surprise then that the adaptation of Angie Thomas’s debut young-adult novel, The Hate U Give, into a big-budget studio picture loses much of its import in translation.
  22. Most of all, though, it comes off as unsure, even afraid, of just what it wants to say about America today, resulting in a sometimes amusing, sometimes stilted lecture that indicts everyone, and no one.

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