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. 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).
  2. 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.
    • 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.
    • 32 Metascore
    • 12 Critic Score
    It is the best anti-cat propaganda in the world. It could make you hate Garfield. Because the biggest sin of Cats, other than all its writhing sexuality and the heinous hairball filmmaking, is that it is supremely boring.
  3. Okay, one kind word: Bill Nighy is clearly enjoying himself playing a New York businessman whose caviar restaurant improbably becomes a beacon for a host of impoverished ne’re-do-wells. But that is the only nicety I can muster for this otherwise cartoonish treacle.
  4. Awkwardly constructed with laughable romantic suggestions, sword-based gore and a whimsical approach to chronological accuracy, the story involves the Indian uprising against the British East India Company.
  5. Deep inside the new Charlie’s Angels movie, there is a fun film struggling to breathe. There are momentary flashes of energy, of wit, of something sorta-kinda-maybe resembling entertainment. But every time writer-director Elizabeth Banks’s reboot threatens to come alive, it immediately falls to the floor, leaden and lifeless.
    • 24 Metascore
    • 38 Critic Score
    As Playing With Fire progressed, it became increasingly clear that the target audience was not respected. This was made by people who seem to think kids are stupid.
  6. One of the worst movies of the year.
  7. Sorta-kinda based on the true story of astronaut Lisa Nowak, Noah Hawley’s directorial debut may have started out as a feminist-forward film decrying the fact that women have to work five times as hard to succeed in the workplace, but it ends up being a movie whose message boils down to, “Ladies be crazy.”
    • 63 Metascore
    • 38 Critic Score
    This is clearly a film that favours concept over narrative expansion, and it suffers for this.
  8. Crowley knows his way from adaptations thanks to 2015′s Brooklyn, but as this 149-minute mess proves, The Goldfinch should have never flown away from its literary perch.
    • 47 Metascore
    • 38 Critic Score
    Using Dass’s theory that one is only free once they become nobody, the film will undoubtedly resonate with anyone who exists on the same spiritual plane or hopes to transcend to it.
  9. There is, buried deep somewhere in Linklater’s film or however many edits it may have undergone – the thing reeks of indecision – an insightful, even invigorating story about what happens to a creative genius once they stop creating. But the actual work presents a good argument that, for some artists, it might be best to quit while you’re ahead.
  10. There are small spurts of creativity ... but everything else about the production feels more watered down than the landscape our four interchangeable leads find themselves flailing about in.
  11. An awkward, painful mash-up of horror and comedy that induces all the wrong kind of squirms.
    • 35 Metascore
    • 25 Critic Score
    What The Kitchen serves is a first film sorely in need of a basic primer on how to go about constructing a movie.
  12. For most of the feeble, unmoving 109 minutes of The Art of Racing in the Rain, a Kevin Costner-voiced golden retriever named Enzo longs for death. I felt the same way.
    • 63 Metascore
    • 38 Critic Score
    Kids certainly won’t learn anything here, but they’re not likely to mistake it for entertainment, either.
  13. Unplanned will make you writhe in agony over how such an ugly, malicious and potentially dangerous piece of religious and political propaganda could have made its way into this world.
  14. I can’t imagine that the filmmakers behind the new horror film Isabelle were thinking about anything other than cold, hard cash while producing this utterly disposable work.
  15. It is not simply that this film is utterly unrealistic – perhaps that can be overlooked; it’s a fable of sorts, set in a scrupulously neutral pan-European setting. What is unforgiveable is that Langseth’s approach to complex emotional issues is unsubtle at best and untruthful at worst.
  16. Anna relies on a time-shifting structure that is laughably exhausting.
  17. The new movie is dumb, pointless and completely bereft of laughs. It wastes a talented cast and all of your time. Worst of all, though, it is unconscionably lazy, starting with its generic title (again, who is naming these things?) and ending with its shrug-of-the-shoulders climax.
  18. In its neediness to be liked, the new Shaft – the third of five films in the series to be titled, simply, Shaft – says everything and nothing.
  19. Who needs original stars Will Smith and Tommy Lee Jones when you have, um ... well, what does this new Men in Black Cinematic Universe offer, exactly? As evidenced by MiB:I, absolutely nothing of value.
  20. A film so dull, flat, and totally joyless that, in the absence of anything compelling unfolding on screen, one’s mind may be forgiven for turning to the corporate machinations grinding behind it.
  21. There is the overwhelming sense that Domino was not directed by any one person at all, but rather spliced and diced by committee into something barely watchable.
  22. Most everyone who watches The Perfection will instead be staring at the screen slack-jawed, dumbfounded at the gory silliness they endured.
    • 35 Metascore
    • 38 Critic Score
    The Hustle should’ve been a comedy that served equal parts wit and social commentary – otherwise, why gender-swap? It should’ve given Wilson and Hathaway a means through which to shine. These are talented, seasoned, capable women. And for their experience to be wasted in a production that is below them, below their director’s filmography and below the original material is tragic.

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