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. So, is Yesterday a one-trick Dig a Pony or did renowned British screenwriter Richard Curtis and the great British filmmaker Danny Boyle turn a cute hook into something meaningful? The answer is that the duo tries for the latter, but doesn’t quite nail it.
  2. 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.
  3. What follows is excellent, uncomplicated and well-wrought house-of-horrors fun, complete with a message about self-blame and the real things that haunt us. Gary Dauberman is a first-time director, but don’t worry, Mom and Dad, your kids (and everyone else) are in good hands with him.
  4. 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.
    • 76 Metascore
    • 75 Critic Score
    In resisting the urge to roll over into the sappy-dog genre, Buddy instead elevates the stories it tells: It’s ultimately about love, resilience and lessons we can all take in.
    • 48 Metascore
    • 75 Critic Score
    Like every classic toy, the franchise has been remodelled in hopes of customer satisfaction. Luckily, this smarter, funnier Child’s Play actually works.
  5. We’re watching Buckley electrify the screen today. May her voice rattle in your head for the rest of the year.
  6. Anna relies on a time-shifting structure that is laughably exhausting.
  7. An exercise in naive commentary and globe-trotting magical realism, the film dares viewers to take it seriously.
  8. Still, once the end credits rolled – including superfluous “bonus” scenes wrapping up various narrative threads – I couldn’t help but empathize with that talking spork. Freedom, sweet freedom! For now.
  9. 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.
  10. 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.
  11. The best thing about Late Night, a new comedy about modern office life, is that it could be set in almost any workplace and still feel mostly sharp and entirely necessary. The worst thing about Late Night is that it’s set in the world of late-night television.
  12. For its slightness and silliness, its concerns are grander. Here, the undead ghouls represent nothing but the cold prospect of death itself. “This isn’t gonna end well,” Driver’s omniscient copper keeps intoning. And it never does.
  13. 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.
  14. For those entering grade school, there is likely no better and more concise primer on the scandal. For everyone else, well, you know the story.
  15. The entire production entertainingly coalesces into part concert doc, part cultural artifact, part “gotcha!” stunt, and part meditation on the fickle, fleeting nature of creativity.
  16. 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.
  17. The message of the film is that life throws surprises. While that is true, this predictable film itself is not one of them.
  18. The quirky romantic comedy The Tomorrow Man relies on the believability of their late-in-life love in order for the film to work. Which it does, to some degree – that degree being small-story preciousness and the simple pleasure of eating popcorn while watching Blythe Danner and John Lithgow watching television as they eat popcorn.
    • 66 Metascore
    • 50 Critic Score
    It’s a sweeping story, but for those already enamoured with “the people’s tenor," Pavarotti is unlikely to offer any new insights into his life.
  19. Framing John DeLorean is a film that delights in stretching the truth, so maybe its constant ignorance of Hamm’s work is just part of its whole meta-narrative shtick.
    • 74 Metascore
    • 75 Critic Score
    Shannon, who has a great face and a criminally underused talent, gives it all she’s got. You’ll be Googling the Dickinson canon and rethinking all your literature courses the minute it ends.
  20. The music’s evolution and crisscrossing pollination is explained well – Mr. Tambourine Man inspired Rubber Soul which influenced Pet Sounds which begat Sgt. Pepper’s – but why are we watching the randomly selected couch full of Cat Power, Regina Spektor and a catatonic Beck sift through old LPs?
  21. The director’s semi-autobiographical, 1980s-set story may be small – it mostly focuses on the turbulent relationship between Julie and Anthony as the former struggles to find her artistic voice and the latter battles various addictions – but her impulses and vision are grand.
    • 73 Metascore
    • 75 Critic Score
    In revealing Cassandra’s interior life, Rozema lays bare the modern female condition in an epic battle that is by turns lacerating, soothing and heartbreaking.
    • 64 Metascore
    • 75 Critic Score
    The journey here, over all, is still worth it, full of Asians making jokes, talking dirty and getting it on – like any good rom-com.
  22. 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.
    • 53 Metascore
    • 50 Critic Score
    Unfortunately, more often than not, Ma settles into its lack of a refined generic vision and stalls out just before it’s able to hit most of its horror talking points squarely on the head.
  23. The Mumbai-set Photograph is a gentle romance cleverly told, and not without humour.

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