The Globe and Mail (Toronto)'s Scores

For 6,021 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 Advanced Style
Lowest review score: 0 Daddy Day Camp
Score distribution:
6021 movie reviews
  1. Once the big twist kicks in, there’s plenty of gritty fun to be had, but patience is a hard-won virtue in genre filmmaking.
  2. When Jallikattu lets it rip, it’s as exciting and unusual an experience as you’re likely to get this year. Grab it by its horns and don’t dare let go.
  3. Jojo Rabbit excels with at least a sincerely attempted – if not exactly precise – balance of humour and horror, absurdity and tragedy.
  4. What follows is a dizzy, politically astute murder-mystery comedy that, while not reinventing the genre, certainly hits all the expected beats with flair.
  5. Essential to the film’s success is Murphy, clearly having his best time in a long time as Moore, who adopted a flashy pimp-esque persona that would eventually take the blaxploitation landscape by storm.
  6. Hanks is, not surprisingly, excellently cast, but it’s Heller’s direction and inventive aesthetic instinct – everything is washed out browns, with the exception of a moving blue-lit finale – that sell the work so well.
  7. It is extremely difficult to make something as invisible and ineffable as religious faith seem real, let alone touching, on film; doing that is only one of the achievements of Fernando Meirelles’ unusual look inside the papacy.
  8. The nerd’s coming-of-age is a well-established genre, as is humiliation comedy, yet Coky Giedroyc’s How to Build a Girl is different enough to stand out.
  9. The Robertson-authorized Once Were Brothers is an account of The Band’s rise and fall, as remembered by the titular guitarist, chief songwriter and excellent raconteur.
  10. Abominable has charms to soothe the savage child.
  11. Jordan and Foxx take the little material they’re given and play it as deep as possible, turning in memorable, eventually gut-punching performances.
  12. Waves is unmistakably and defiantly its own thing – and when its ideas and aesthetics coalesce, it is a wonder to behold.
  13. With exuberant naturalism from its non-professional actors, and a standout performance from Kosar Ali as Rocks’s best friend, the film covers the highs and lows of female adolescence with compelling sensitivity.
  14. In 96 minutes, Soderbergh presents a series of vignettes underlining humanity’s subservience to greed. Some of the segments work – especially one involving an African business titan who decides to teach his daughter an expensive family lesson – and some are too thin (maybe there is a downside to that brisk 96-minute runtime after all).
  15. While Rhys Ifans chews scenery as a scruff-faced foreign correspondent, Knightley plays it taut and believable, and, as we know, nobody walks on cobblestones better than she. The end result is a professionally made film that is whistle-blowingly relevant, starring an excellent actress who successfully comes in from her Pride & Prejudice past.
  16. The problem is not so much Satrapi’s theatrical approach to the subject, which veers wildly from the overwrought to the dramatically compelling, as it is Jack Thorne’s abysmal script, full of clunky exposition about isolating elements, curing cancer and refusing sexism.
  17. The meta-fiction may be overdone, but that and the director’s feeling for tone create the expansive atmosphere in which a talented multiracial cast lead by Dev Patel can master everything from pure melodrama to high comedy.
    • 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.
  18. It Chapter Two is a film in need of a good ending. How badly it needs that ending is never in question, either. Hell, the movie cries out for help on the subject.
    • 63 Metascore
    • 75 Critic Score
    Ultimately, This Changes Everything is a mainline to the first-hand experience of those who work and exist outside the white male umbrella. And because of that, it’s an exercise in storytelling that evolves quickly into a valuable lesson for anyone who purports to be a feminist, an ally or a film and television lover. You’ll never watch either the same way again.
    • 61 Metascore
    • 75 Critic Score
    Vegans and animal lovers might have a tough time stomaching parts of the film.
    • 72 Metascore
    • 88 Critic Score
    Things other studios might frown upon are its greatest strengths, including a charming ensemble of actors often relegated to bit roles (Michaela Watkins, Utkarsh Ambudkar, Lil Rel Howery and Micah Stock are all fantastic), frank vérité-style cinematography and intimate storytelling.
  19. Aquarela’s soundtrack shifts from ambient post-rock to gnarly speed-metal to widescreen strings. The effect is a serenely apocalyptic warning: Climate change is a killer, with water as its indiscriminately lethal weapon.
    • 70 Metascore
    • 88 Critic Score
    In the end, whether the performances are driven by real-life trauma or by acting doesn’t matter. Life might be imitating art or vice versa, who knows? One thing is certain: The Peanut Butter Falcon is a wonderful piece of art.
  20. There’s no thrill to this thriller. Nor is there nuance to the characters.
  21. Toes will tap, a tear or two might be shed – a complex story about a deceivingly complex musical is adoringly told and ultimately simplified. “As long as humankind continues to have struggles,” asserts one talking head, “Fiddler on the Roof will be there.” File under: The more things change, the more they stay the same.
  22. The filmmaker has such a strong command of mood, character and performances – especially impressive given the age of her cast – that her world quickly, seductively overwhelms.
  23. Despite its sometimes overwhelming sense of familiarity – including a conceit that feels lifted from last year’s Game Night, an impossible feat given both productions’ development timelines – Ready or Not is still energetic, inventive and bloody enough to permissibly coast on its influences’ fumes.
  24. The few parts of director Gene Stupnitsky’s film that feel new, then, don’t feel that new at all, from the ultra-shaggy plot to the gross-out gags that misunderstand the power that repetition might hold.
    • 60 Metascore
    • 63 Critic Score
    Just like its mobile incarnation, The Angry Birds Movie 2 simply pelts you with loud, shrieking diversions. The filmmaking has levelled up, but you’re still wasting your time.

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