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. Part "Billy Elliot" and part Chadha’s own underdog hit "Bend It Like Beckham," Blinded by the Light is a feel-good coming-of-age movie that often feels way too good about itself.
  2. 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.
  3. 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.
  4. At times the film seems like a horrifying Nancy Drew story or a more sophisticated Scooby-Doo episode without the dog and with a face full of spiders.
  5. "The Road" meets "Leave No Trace" with a sprinkling of another half-dozen sharper films, Light of My Life is Casey Affleck’s ode to the power of storytelling. Namely, Casey Affleck’s brand of storytelling: glacial, meandering, but not entirely ineffective.
    • 73 Metascore
    • 50 Critic Score
    Belkin floats the notion that Wallace’s sharp-tongued style paved the way for the lying loudmouths who now populate our fractured media landscape (he flicks at Bill O’Reilly, Alex Jones and the U.S. President), but it feels like a half-hearted bid for contemporary relevance. At least his prickishness had purpose.
    • 72 Metascore
    • 88 Critic Score
    In truth, there is not much this film does not cover; every minute of Luce is saturated with the organicism of its sharp lines of inquiry and its actors here are at their best in their handling of their given materials.
  6. 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.
  7. Nashef is a sombre Roberto Benigni in his role as a sincere bumbler, defusing situational bombs with hummus-based subterfuge and desperate diplomacy. This satire in Hebrew and Arabic is an answer in an allegorical and comical way, about a mad circumstance and a man in the middle of it. A tense and painful backdrop, sure, but there’s no stick up Zoabi’s butt, just an olive branch.
  8. So for now, I’m going to go lay down, chuckle at the film’s inventive ridiculousness and try not to think too hard about anything at all. It’s what Hobbs and Shaw would want.
  9. Crosby, as we learn in the fascinating documentary David Crosby: Remember My Name, is no easy rider. He’s no easy anything. What he is is stunningly self-aware, relentlessly candid and highly interested in the subject at hand, which is himself.
  10. The drama is an intricately constructed and intensely felt work that transcends the easy “coming-of-age” genre label that is so tempting to slap onto it.
  11. Other than keeping Hamilton’s name out there and giving her brand exposure, Unstoppable stops short of making a compelling case for itself.
  12. I like the way McLeod handles the genre. The easiest thing to do would be for her to write Feore’s Elon Musk-y space-or-bust character as a villain, thus making it impossible not to root for her protagonist (who warns of a potential load-bearing problem with the space-plane’s runway). McLeod resists that urge though.
  13. In its thin conception, shaggy form and muddy execution – and in its glee in coasting on a perceived aura of cool whiz-pow-bang energy – the film is as much a comic-book movie as they come.
  14. The film’s calm brutality is effective. Plot-wise, some punches are telegraphed, while others are not. The satire is a spinning wheel kick I didn’t see coming. Black belts all around.
  15. Unlike "Crazy Rich Asians," which had eyes for narrative substance but shamelessly flirted with the superficial, The Farewell is a more substantive, engrossing and ultimately deeper work about the bonds that hold and strengthen us.
  16. It’s an entertaining and thrilling tale, if you’ve never seen it before. But you have.
  17. In a Hollywood ecosystem obsessed with brands and inoffensive genericism, there is something admirable and fresh about a movie that has nothing on its mind other than delivering 87 minutes’ worth of gory gator-chomping thrills.
  18. This story of personal redemption tacks drama by the nautical mile. "The ocean is always trying to kill you,” says Edwards, a woman like most who knows about facing high odds and salty conditions.
  19. Fittingly, given that the film from Broomfield (who was also a former lover of Marianne’s) is nothing if not a love letter itself. So long, Marianne. So long, Leonard.
  20. 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.
    • 42 Metascore
    • 63 Critic Score
    The action half of the action-comedy tends to lean more towards slapstick than shoot-’em-up, even when heads are exploding, and while it’s capably handled, the movie is at its best when its two leads are bickering in the car. Stuber is probably the only ride share where talking should be strongly encouraged.
  21. The drama is an endlessly inventive and devastating work, a lyrical ode to a city that has turned its back on its most devoted citizens.
    • 82 Metascore
    • 88 Critic Score
    The Pieces I Am is compellingly organized and like much of Morrison’s writing, forces the viewer to think carefully to keep up.
  22. Aster’s considerable discipline in matters of plot, acting, and exactingly manicured mise-en-scène resulted in a film that, for all its shocks and bravura performances, felt a little too controlled, as if its borderline braggadocious style was compensating for a lack of genuine terror.
  23. In five years’ time, it wouldn’t be surprising to see Far from Home ranked near the bottom of everyone’s favourite MCU efforts – the film evaporates, Endgame-style, immediately after viewing.
  24. The detective plot is shaggy and never fully resolves itself, but the implications of the story resonate like a distant drum.

Top Trailers