The Globe and Mail (Toronto)'s Scores

For 6,017 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 California Typewriter
Lowest review score: 0 Welcome Home, Roxy Carmichael
Score distribution:
6017 movie reviews
  1. A smooth family drama with hints of big, bold comedy and a spicy, complicated aftertaste reminiscent of Lifetime movie-of-the-week tropes, Uncorked is the cinematic equivalent of merlot: fine enough if you’ve drained all your other options, but nothing to get drunk on.
  2. Eisenberg does an admirable job porting his typically nervous energy into Marceau, a man who’s not portrayed as a full-blooded hero so much as a sincere, if naive, nebbish constantly wrestling with his fears and doubts.
  3. Vivarium is an exercise in wringing dry the audience’s emotions until we’re nothing but husks. For some, that could be appreciatively cathartic right about now. Myself, I felt little other than a deep and nagging depression.
  4. Extraordinarily gross, metaphorically blunt, but also perversely and wildly entertaining, the new Spanish splatter satire The Platform is the perfect movie to watch while the world seemingly teeters on the edge of existence.
  5. To watch German documentarian Thomas Heise’s marathon family memoir Heimat is a Space in Time, the viewer has to continually analyze the relationship between text and image.
  6. The most shocking part of this too-shocking-for-audiences-today production is that Cuse and Lindelof are even involved, given the far smarter and sharper work they did last year on HBO’s "Watchmen," which took the carcass of U.S. politics and thoroughly eviscerated it in a new and startling fashion.
  7. As far as the preaching-to-the-choir genre goes, though, I Still Believe is a far more tolerable exercise than, say, last year’s anti-abortion screed "Unplanned" or any recent movie with the word “Heaven” in the title (Heaven Is for Real, Miracles from Heaven).
    • 74 Metascore
    • 75 Critic Score
    I am, admittedly, its ideal viewer – I own enough books to last me several lifetimes – but that doesn’t change the fact that The Booksellers is a lovely documentary – contemplative and captivating. I finished the film and felt compelled to turn off the screen and pick up a book.
  8. Diesel’s "Fast & Furious" movies have heart. His "Riddick" movies have weirdness. His "XXX" entries have lunacy. (Can we pause to admire how many franchises this man has to his name?) Bloodshot, though, only offers mere generic mediocrity.
    • 45 Metascore
    • 50 Critic Score
    Unfortunately, the actual incarnation of My Spy is a hot mess, full of more confused character motivations and emotional blackmail than the season finale of "Love Is Blind."
  9. Just as it is possible to make a compelling doc without telling an entire life’s story end to end, Lost Girls proves that you can make a substantial thriller that doesn’t rely on a comforting real-world conclusion.
  10. As audiences, we lean toward demanding a near-constant auditory assault – that if we’re not hearing something, we’re missing something. Director Kelly Reichardt has no qualms with upending this, and other pieces of conventional cinematic wisdom with First Cow, a film that takes great care to remind us of the whisper-quiet bones of America’s history – a time when there wasn’t much to hear except what nature was telling us.
    • 68 Metascore
    • 63 Critic Score
    It’s a solid effort. There are guts here, just not quite enough glory.
  11. Spenser Confidential makes far more narrative and visual sense than the incomprehensible "Mile 22," and carries less of an America First odour than any of the pair’s previous partnerships. But it also proves that it is finally time that Berg and Wahlberg explored a trial separation. If you really love someone, guys, set them free.
  12. Yet after half an hour in Wendy’s world, it is clear that Zeitlin has exhausted both his visual imagination and whatever narrative interest he had in Barrie’s tale other than “kids, they grow up fast.”
    • 83 Metascore
    • 100 Critic Score
    Because the director weaves in enough scenes to show how deeply this family cares for one another, it never feels voyeuristic in its sadness but true to reality. This isn’t about emotional manipulation or poverty porn, it’s about showing a family as a whole.
  13. Greed’s antihero is known as “Rich" to his intimates and his surname earns him the moniker “greedy McCreadie.” It’s not subtle stuff but then, investigative journalism, censure, documentary exposés, and empathy haven’t worked so far to cure our rapacious fast-fashion appetite – so why not a movie?
    • 57 Metascore
    • 25 Critic Score
    Yeah, it’s not good. Writer/director Ricky Tollman has turned the true story of Rob Ford’s crack video into a fake cris du coeur for millennials.
    • 61 Metascore
    • 75 Critic Score
    A delightful family movie that packs an emotional punch.
    • 71 Metascore
    • 50 Critic Score
    As the film progresses and positions itself closer and closer to visualizing what Adrian might look like, it also becomes more cartoonish. Adrian comes to be rendered almost as if he were a comic-book villain, which severely undermines the weight of the story.
    • 71 Metascore
    • 88 Critic Score
    Does every generation of moviegoers get the Emma it deserves? If so, we are in a lucky moment.
    • tbd Metascore
    • 63 Critic Score
    It’s just so extra in depicting a story about two gay men in love, and seeking validation from their family. It’s both its drawback and delight.
    • 47 Metascore
    • 63 Critic Score
    If you’re after an action-packed adventure film set against turn-of-the-century Canadian wilderness, you’ll likely come away disappointed. If you’re looking for a good ol’ yarn – the kind where bad guys sneer, good guys sigh and a big dog rescues everyone and finds its true self in the process? Jackpot!
    • 64 Metascore
    • 75 Critic Score
    While The Lodge isn’t as hearty as the horror films it desperately wants to emulate, the filmmakers have concocted a heavy stew of emotions, left on a low simmer. In the cold winter season of "IT" children orphan horror movies, it will have to suffice our cravings.
    • 73 Metascore
    • 100 Critic Score
    Here’s the thing: Joan and Tom do come back from it. The couples who stay together figure out how to do that. Ordinary Love is an argument that, as hard as that is, it’s worth it.
    • 49 Metascore
    • 50 Critic Score
    It’s plagued from start to finish by wavering intentions that result in an unfocused, unfunny film.
    • tbd Metascore
    • 75 Critic Score
    All four characters are rendered as layered, believable humans, and I especially love how each resulting relationship – Cami and Rachel, Rachel and Aster, Cami and Tallulah – has its own arc and rhythm.
    • 62 Metascore
    • 75 Critic Score
    Meghie’s films don’t conform to conventional plot structure; her approach is more musical, more fluid. As a result, her rhythms are sometimes a little off, as the plot wanders down this or that detour. On the plus side, she makes time for naturalistic conversations.
    • 47 Metascore
    • 63 Critic Score
    The movie was partially shot in beautiful British Columbia. And Carrey brings a madcap mashup of his previous avatars to this turn as Dr. Robotnik.
  14. Despite the film’s laudatory tone, a portrait of Foster is competently painted by the veteran documentarian Avrich.

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