The Globe and Mail (Toronto)'s Scores

For 5,184 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Sleepless in Seattle
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
5184 movie reviews
  1. Like almost every other major studio film this summer, Fallen Kingdom plays dumb, and happily.
  2. The hardship of it is immediate, but it never feels forced or exploitative. Hepburn cares for her characters too much to force matters in such a way
  3. Tag
    A film that is touching in a clumsy, boyish way that adults will understand and may even applaud.
  4. The charming Johnny Flynn ultimately struggles to find the right tone for the boyfriend, not helped by a director who hasn’t quite mastered the rhythm required for his surprise ending.
  5. Big, annoying, and mostly pointless.
    • 52 Metascore
    • 75 Critic Score
    Employing the unapologetic pomp of rap videos and enough heart to transition stereotypical characters into complex, dynamic subjects, Superfly is a visual treat that embellishes Director X’s signature kaleidoscopic visuals with an uncanny knack for storytelling.
  6. Foodies will enjoy the window into fancy restaurants but, without any interviews other than Ducasse, the documentary never questions the evolution of the chef into a peripatetic artistic director rather than an actual cook, nor the realism of professing environmental frugality in a three-star setting.
  7. Film critic Roger Ebert described movies as “empathy machines,” in that they allowed people to understand the lives and stories of others. Empathy was a big part of what Fred Rogers taught. In this film and with others, Neville, who grew up in the entertainer’s neighbourhood, has demonstrated himself to be an A-plus student.
  8. Bullock is firm as the preternaturally self-assured Debbie but little more than that; her performance as the con artist is reined in so tightly that she only finally appears to be having some fun when she gets to don a blond updo and German accent on the night of the ball.
  9. A terrifying, pitch-black kind of horror movie that takes up residence in your mind for days, even weeks later – but it is also a family film.
  10. Writer-director Drew Pearce’s Hotel Artemis, however, manages to make the most intriguingly bonkers premise a boring and flat exercise.
  11. Mozhdah empathetically charts Nisha’s despairing acquiescence and fitful rebellions, but it’s Adil Hussain’s work making her father not entirely unsympathetic that really stands out.
  12. If it weren’t for Binoche’s warmth, the film might easily sink beneath the stereotype of French culture as overly talky and sex obsessed.
  13. Like "Everest," Adrift is a movie throbbing with an audience’s anxiety – and yet it is not particularly dramatic.
  14. First Reformed may well be the ultimate auteur object for Schrader apostles. But ultimately its sheer archness reveals Paul Schrader as a gifted and deeply persuasive evangelist of the transcendental style – if not quite a canon saint.
  15. The whole cast is capable. The comedy doesn’t pop, though, and even a nifty late-film reveal can’t save this film from failing to live up to its potential.
  16. The film’s most insightful moments come when the documentary reconnects Talley with his past as they revisit his hometown and oldest friends.
  17. The heavy Star Wars legacy sits lightly on Ehrenreich’s shoulders in a Disney-Lucasfilm movie that is finally having fun.
    • 62 Metascore
    • 88 Critic Score
    The lead actors are both marvellous.... Yet the film’s most impressive performance might come from director Dominic Cooke, who has delivered an assured, wistful debut.
  18. Grown-ups will find it painful to watch a clearly embarrassed Arnett go through the motions, muttering his lines as he internally wonders why he never became the next Kevin Costner.
  19. So where the hypocrisy, didacticism and inaction of previous popes righteously roused our anger and indignation, Francis stands as a palliative cure-all for anti-papal sentiment. Likewise, Wenders’s documentary seems to yearn to excite the viewer’s passion, to ignite a desire to take meaningful action against the very real social problems the Pope so clearly diagnoses.
  20. What’s admirable about the film is how Driver gives the cross-pollinating forces of music, media, fashion and art such concise, firsthand exploration.
  21. RBG
    In RBG, a lionizing biography of the U.S. Supreme Court judge, Ginsburg emerges as a woman of remarkable intelligence and fortitude – who can get by on very little sleep.
  22. The whole thing feels like a late-night, dorm-room gab fest, except that the four women in question are well over 60, which is the gag.
  23. Never before have the demands of my inner man-child been so stirred, though, than while experiencing Deadpool 2, a movie that feels scribbled in pencil crayon, drenched in Jolt cola and coated with the dust of a thousand discarded bags of Flamin’ Hot Cheetos.
  24. A truly gifted comedic actress, McCarthy is wasting her talents with this vanilla-flavoured story.
    • 82 Metascore
    • 75 Critic Score
    The doc drags a bit by the end, but the film's message is sent: "Man's wish to be first induces forms of insanity."
    • 42 Metascore
    • 38 Critic Score
    There is a familiarity to its characters and story, which doesn’t do much at all in terms of reinventing the genre, but very much meets its own expectations.
  25. As film, the results are often fabulous. They begin with a deft use of flashback from the action’s dark conclusion; they continue with wonderfully detailed and lively camera work that catches the sparkle in Annette Bening’s eye as she plays the actress Irina dominating her many dependants, and follows the seduction of the ingénue Nina (Saoirse Ronan) as it moves out onto a rowboat in the middle of a lake.
  26. There are good intentions lurking here, especially in star Louis Garrel’s performance, but the film consistently fails to engage on an even basic level.

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