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The Globe and Mail (Toronto)'s Scores

For 5,406 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 Missing
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
5406 movie reviews
  1. Touching, if by-the-books, documentary.
  2. A rags-to-riches tale that is inspirational in the most sentimental and predictable of fashions, Bigger squanders most of the potential that comes with dissecting such an underexplored world as the nascent body-building industry. At least he nails the casting, with the intimidatingly fit Tyler Hoechlin and Aneurin Barnard as the Weider brothers, the charismatic Julianne Hough as Joe’s wife.
    • 52 Metascore
    • 50 Critic Score
    Stern pledges to just listen rather than argue, and though what he hears is often bonkers and wholly unsupported by facts, he has compassion, at least for those who are not nakedly racist.
  3. The film ends with the mention of Schrager’s full pardon in 2017 by President Obama. If the discotheque was non-judgmental, so is the film.
  4. All About Nina is a compelling, honest and occasionally messy middle finger to the expectations placed on female entertainers – or just simply women at all.
  5. So, the safely scary and often amusing formula holds. Meanwhile, the movie’s conclusion includes enough plot about Stine’s fate to suggest Goosebumps 3 will feature more of the elusive Black and that can only be a good thing.
  6. The direction is similarly yearning; practically begging for admiration. A sequence in which Hemsworth swishes toward the camera, piece of pie in hand, grooving to the strains of Deep Purple’s Hush, is so desperate in its attempt to appear iconic that it becomes difficult to watch head-on.
  7. Knuckleball does not flutter; its pace and tone is lean, mean and eerie. Luca Villacis plays the home-alone little hero, a Rambo MacGyver Jr. in the making. Not all the kid’s ingenuity and wits are plausible, though, and a late-plot throw-in is a bit much. Still, there’s Ironside and enough cold-weather tension to make Knuckleball a swing-and-hit deal.
    • 49 Metascore
    • 75 Critic Score
    The rare example of an understated, effectively told young-adult yarn that places emphasis on grounded characters, nuanced performances and stunning visuals over convolution and clichés, Canadian filmmaker Jason Stone’s At First Light boasts unpretentious but exciting surface-level charms.
  8. Why is she a problematic pop star? That’s the premise, but I’m not sure we get the answer here.
  9. The pace is leisurely; this is no amped-up police procedural. I love what savvy director David Lowery does with the camera, panning here and there, picking up stray sights and happenings. Top-rate stuff.
    • 35 Metascore
    • 12 Critic Score
    Where to even begin with Venom, a film that had me laughing at it so hard I started crying. A horribly scripted film so bad as to be enjoyable, but not bad enough to be good.
  10. There are only two erotic scenes between the two women, and Macneill, Sevigny and Stewart handle them with conviction: For all the horror of her situation, Lizzie needed some larger motivation to wield her axe. Lizzie dramatically provides it.
    • 43 Metascore
    • 50 Critic Score
    So if you can get through this headache of a script and Lee’s unwavering commitment to choreographed dance numbers, there are some funny times in store.
  11. It makes for intriguing and often gripping viewing, but delivers a more confounding experience than is necessary. Still, the director knows how to break those bones real good.
  12. We learn a little about Jett’s activism, and hardly anything about her personal life.
    • 59 Metascore
    • 63 Critic Score
    Where Smallfoot shines, though, is – like Warner’s Looney Tunes and Animaniacs before it – its slapstick physical comedy.
  13. A fantastical adventure, dandy ode to weirdos, and accessible anti-war allegory for all ages, especially 10-year-old boys.
  14. Because it’s emotionally manipulative, unashamedly contrived and outrageously sentimental. Lead actor Oscar Isaac doesn’t care a damn about that, mind you, giving a memorably heart-wrenching performance anyway.
  15. Love, Gilda reveals this but does not probe it. With various soft and admiring interviews, it relies mainly on Radner’s own words to hint at how dark things got.
    • 77 Metascore
    • 75 Critic Score
    There is a different kind of pleasure in watching ultracivilized people struggle to contain their clammy self-loathing (in Joe’s case) and fury (in Joan’s). And if you think the themes of this story are nestled comfortably in the past, think again.
  16. Its mystery elements are infused with a uniquely Feig-ian sensibility, equal parts broad comedy and ironic winks. The genre-meld shouldn’t work as well as it does, but Feig wrangles all the disparate elements under his control.
  17. There is a strange emotional detachment to Felix van Groeningen’s adaptation, which renders the tale needlessly cold.
  18. A majestic feat of filmmaking, an intimate portrait of a family that also serves as a broad portrait of a changing nation.
    • 62 Metascore
    • 63 Critic Score
    It’s Thompson who carries the film, both literally – she’s rarely off-screen – and emotionally.
  19. Mandy is, if it’s not clear yet, not for everyone. But for those who think nothing of staying up past midnight to devour the strange and fantastic, it hits the sweetest of spots.
  20. It’s a working-class story, albeit one that doesn’t involve officially recognized "work,” which raises questions about police corruption and racially slanted drug policies. Speaking of questions, why is a white character being held up as a shining symbol of the black man’s plight? Something to consider. Otherwise, White Boy Rick has much to say yes to.
  21. Hansen-Love’s ability to evoke the unspoken remains in full play as she returns to themes of young love and emotional crisis, but much of the film is in English and both dialogue and delivery feel stilted. Meanwhile, it’s never clear why being the object of a youthful crush might be a good cure for PTSD.
  22. Filmmaker Erlingsson has an eye for detail, a flair for the absurd – a sousaphone-based trio pops up here and there – and a deft touch with social commentary and political satire.
  23. The director simply trusts that his performers and sun-dappled visuals will carry the film forward. And he’s right – there’s little narrative propulsion to Too Late to Die Young, yet it hums along with a vibrant humanity all the same.

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