The Globe and Mail (Toronto)'s Scores

For 4,740 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 New Best Friend
Score distribution:
4740 movie reviews
  1. Skip work to see it at the first opportunity.
  2. Working "lobbed" and "scimitar" into that same sentence hovers near the empyrean of genius.
  3. May not have the most sophisticated narrative, but it is one of the most spectacular and masterly demonstrations of animation in screen history.
    • 61 Metascore
    • 88 Critic Score
    This is the funniest teen movie I've seen in eons.
  4. A little like speeding through the digestive tract of some voracious beast. There's bite, acid, digestive churning and an expulsive conclusion. If the metaphor seems unsavoury, well, wait until you see the film.
    • 77 Metascore
    • 88 Critic Score
    Visually evokes Coppola’s "Godfather Part II" and Leone’s "Once Upon a Time in America," but in its utterly irony-free melodramatic sincerity also suggests a silent-era woman’s picture à la D.W. Griffith, King Vidor or G.W. Pabst.
  5. The movie isn't just about Schmidt as a personality, it's a portrait of his world, and Payne and co-writer Taylor show a rare compassion for the superficially comfortable.
  6. In the end, like any satire worth the name, In the Company of Men spins around to fire its biggest salvo at its ultimate target -- the audience.
  7. Though the Disney logo is on this movie, there is -- possibly excepting little Nemo himself -- not a single cloying, sentimental Disneyesque creature in it. There is, instead, wit and flair in concept and writing, the trademark of the Pixar people who drove the project.
  8. The first 20 minutes of the South Korean film The Host represents one of the most entertaining movie openings in memory. It's the same kind of pop-culture thrill provided by Steven Spielberg's "Jaws," with the same sense of astonishment, fear and pleasure at something genuinely new.
  9. The score (a nifty collection of vintage but never clichéd period tunes) complements the mood perfectly, and the ensemble cast members hit their own notes to perfection.
  10. That the director is able to continue producing such creative and daring work while ostensibly under the thumb of the state is a true feat.
  11. Always perceptive and curiously light in tone if not in content -- such a remarkably delicate look at an absolutely devastating subject.
  12. Pure cinematic intoxication, a wildly inventive mixture of comedy and melodrama, tastelessness and swooning elegance, bodies with the texture of fresh peaches, and angular faces Picasso would have loved.
  13. The Beguiled is Coppola’s bloodiest, most visceral movie to date, and it is also one of her best.
  14. The gamble of casting Misses Tomlin and Fonda in what would seem to be the wrong roles (Violet is the strong, efficient, hard-edged secretary; Judy the frilly, "feminine," inexperienced employee) pays off handsomely, especially with Miss Tomlin. When she is handed a memo by a senior secretary and smilingly snarls, "Thanks, Roz, I know just where to stick it," her line reading is worth the price of admission. The pneumatic Miss Parton sings the theme song with greater confidence than she brings to her acting: she is a sweet little thing, but she's no thespian. [20 Dec 1980]
    • The Globe and Mail (Toronto)
    • 70 Metascore
    • 88 Critic Score
    What it comes down to is the difference between spectacle and craftsmanship. The Winter Soldier has plenty of the former – every dollar of its estimated $170-million (U.S.) budget is onscreen – but it’s also got an intricate dramatic and thematic structure holding everything in place.
  15. Here’s a layered, nuanced film whose only goal is to tell a story of real people and real heartache, not to act as a crass marketing plank for a series of hopeful sequels and spinoffs (hi and bye, Baywatch and CHIPS).
  16. Atomic Blonde is bold, brazen and frequently bonkers. But it’s also killer.
  17. The result is a rarity on any screen: intelligent fun.
  18. Koreeda takes his usual languid pace to allow the story to breathe, and along the way comes across a quiet number of delicate epiphanies, each more satisfying than the last, and all aided by a strong Abe performance.
    • 77 Metascore
    • 88 Critic Score
    A rare example of a truly independent film, Thai or otherwise, the fascinatingly aesthetic Blissfully Yours.... has a simple narrative and an adoration of nature that lists the film toward the experimental. [10 Sept 2002, p.R4]
    • The Globe and Mail (Toronto)
    • 84 Metascore
    • 88 Critic Score
    A case study in blunt-force media trauma.
  19. This happy daydream contains Coppola's most assured work since "Apocalypse Now;" save for its modesty, it is in no way inferior to his masterpiece, "The Godfather" Saga. [12 Aug 1988]
    • The Globe and Mail (Toronto)
  20. If the kids give the movie its momentum, its fascination comes from a more static source -- the father.
  21. From the first stylized shot to the final comic resolution, Moonstruck is completely sui generis - hard to describe but easy to love.
  22. No film this year has offered quite the cerebral tickle, weird invention and slaphappy gusto.
  23. Engrossing and not too sugar-sweet, Meghie’s movie is slightly paranoid, surprisingly fantastical and superb at translating the overwhelming stupor of first love with big, bold shots and a banging soundtrack.
  24. It's intriguing, appalling, savvy, nasty, grossly unsettling -- you may not like what you see, but you'll definitely be affected by the sight.
  25. All this is as fascinating as it is humbling, even when Herzog ventures a little too far down eccentricity's back alley.
    • 50 Metascore
    • 88 Critic Score
    Guttenberg has yet to make a comedy that isn't all the more pleasant for his presence. Sheedy, meanwhile, is wholesomeness personified - almost a new Sally Field embodying the positive aspects of American willpower, energy and openness. She has talent. She has freckles. She is a star. Even robots fall for her. Badham wired this one up pretty good. [09 May 1986, p.D1]
    • The Globe and Mail (Toronto)
  26. So energized by the subject that it overflows with inventiveness.
  27. It is our tour guide that makes Cave of Forgotten Dreams an often thrilling experience. His producer, Erik Nelson, has joked Herzog is the first filmmaker to use 3-D for good, instead of evil. There is no question that the technology enhances our visit, giving perspective and shape to the jagged Chauvet Cave – an open mouth the size of a football field.
  28. Not quite a comedy, not really a drama, Mad Dog and Glory throws your equilibrium but keeps your interest high. [5 Mar 1993, p.C3]
    • The Globe and Mail (Toronto)
    • 85 Metascore
    • 88 Critic Score
    Move over, Jim Carrey, and watch your back, Mike Myers. Your tenure as the most bankable comedians to call Canada not-quite home but still native land is about to come to an end. The new money is on one 25-year-old virgin – to top billing, that is – from Vancouver. His name is Seth Rogen and he's (literally) the poster boy for the best American comedy of the summer and, what the heck, of the decade so far.
  29. The treatment of the Sioux is not only sympathetic, it's ethnographically exact. Neither Noble Savages nor Red Injuns, the natives in Dances With Wolves are differentiated human beings about to undergo cultural genocide.
  30. This is a rare adaptation where the script (by McGrath himself) heads straight for the novel's horrible essence, reproducing it non-verbally and in an even more concentrated form.
  31. One of the most original, and certainly among the best-acted films this year, 21 Grams focuses on people on the verge of dying, having survived death or grasping at the slender threads of new lives.
  32. Director Jeremy Sims probably uses a setting-sun metaphor more than necessary, but otherwise his decisions are immaculate and his film should hold audiences in thrall. On a journey of self-discovery, the metre keeps running. Might as well, Last Cab tells us, get your money’s worth.
    • 75 Metascore
    • 88 Critic Score
    Stand By Me is not "a masterpiece," but it is an evocative and cheerily amusing movie about growing up male in 1959, a kind of pre-pubescent American Graffiti, the locker-room rejoinder to My American Cousin. [8 Aug 1986, p.D1]
    • The Globe and Mail (Toronto)
  33. The feeling is like a warm homecoming.
    • 86 Metascore
    • 88 Critic Score
    By the end, Sachs has raised urgent questions about immigration, classism, gentrification, loyalty, family and nascent sexuality – but he’s done so utterly organically, via 10 square feet of city. Lovely.
  34. As provocative as it is timely.
  35. That it’s unsettling not just because of the contentious moral context underlines just how radical any realistic depictions of female desire and sexual experience still are.
  36. Her
    Phoenix, for long scenes, is onscreen by himself, lost in his thoughts and those of the operating system moulded to fit his psyche. With his wounded awkwardness and boyish giggles, he seems authentically vulnerable, but the character’s emotionally arrested development also begins to weigh the film down.
  37. Sensual and scary, the movie is so visually textured you feel as though you're brushing against the screen.
  38. This much is inarguable: In the more than two flamboyant hours of Across the Universe, Julie Taymor doesn't cheat us for a single second.
  39. Lincoln is directed by Steven Spielberg but, to his great credit, few will mistake this for a Steven Spielberg film. Rather, it's a Tony Kushner film, the playwright who conjured up the wordy but intricately layered script; and it's a Daniel Day-Lewis film, the actor who so richly embodies the iconic title role.
  40. No filmmaker, in any cinematic culture, has a better eye or ear for the working class than director Mike Leigh.
  41. A thrill ride that’s as terrifying as it is no-nonsense.
  42. Here’s another word for Gone Girl: “meta.” It’s a word Flynn uses, which means it’s a thriller about thrillers, and a narrative about narratives, especially the form of domestic violence relished by current-affairs television shows.
  43. Trapero reveals the ways in which truth can be much stranger, more tragic and confused, than fiction.
    • 76 Metascore
    • 88 Critic Score
    This is the perfect film for a band that was never trying to be something other than inventive.
    • 84 Metascore
    • 88 Critic Score
    Trier's all in a calendar-day conceit gives Oslo, August 31a clean, clear structure, and yet it doesn't hem it in.
  44. Much like Robert Altman during his forays into the genre, writer/director Asghar Farhadi isn't really interested in the answers. Instead, he keeps expanding the questions, until that singular title comes to seem a misnomer.
  45. Though Burton's version is faithful, the filter of his sensibility has turned it into another of his necrophilic creepshows.
    • 76 Metascore
    • 88 Critic Score
    The result is not only a dramatic improvement over what was already an unusually smart and satisfying pop-cultural parable of insurgent 99-per-cent rebellion, but a very likely candidate for the all-time-great-sequel sweepstakes.
  46. A deceptively light and impeccably structured comedy that owes a clear cinematic debt to others -- Ernst Lubitsch, Woody Allen and Whit Stillman among them -- yet still manages to speak with a fresh and distinctive voice. [21 Aug. 1998, p.D4]
    • The Globe and Mail (Toronto)
    • 89 Metascore
    • 88 Critic Score
    Marsh's most remarkable directorial achievement, however, is preserving the original sense of amazement and awe when watching historical footage and still photographs of Petit walking that tightrope up in the sky.
  47. Disturbing and taut, Eggers’s direction is almost without fault. His only mistake lies in the film’s final 30 seconds, where all the implied horror of the family’s plight becomes just a shade too explicit.
  48. There’s no doubt that the world needs more iconoclasts, whistle-blowers and anti-authoritarian rabble-rousers. But it deserves better than Julian Assange.
  49. The most amazing thing about this amazing movie may be that in the end it communicates the large uncertainties and small hopes of a twisted, inarticulate adolescent boy perfectly, and wordlessly. [14 Oct 1983]
    • The Globe and Mail (Toronto)
  50. Good ain't the half of it in this case - it's funny, it's endearing, it's strangely touching. [19 Aug 1994]
    • The Globe and Mail (Toronto)
  51. Gould’s excellent documentary captures this elasticity, stretching the spectator to consider why bearing witness to a life collectively is so very worth the trouble.
  52. Spotlight is not about fiery performances or thrilling set-pieces – it’s simply a tight and captivating look at professionals who excel at their jobs, and who legitimately care about making a difference. Sometimes, that’s more than enough.
  53. It has a schlocky title and a rocky start, but then something happens - The Man Without a Face finds its rhythm and its grip, seizing the audience and propelling us straight through to the dewy climax. [25 Aug 1993, p.C2]
    • The Globe and Mail (Toronto)
  54. The reality measures up to the rep.
    • The Globe and Mail (Toronto)
    • 70 Metascore
    • 88 Critic Score
    Unusual, as such movies go, in its disregard for busy theatricality.
  55. Simultaneously a spectacular act of movie-making and a slight movie. Or is that impossible: When the means are so gloriously abundant, can the end ever be merely trivial?
    • 76 Metascore
    • 88 Critic Score
    Miller’s characters are complete, singular people, and her take is thoroughly female. She subverts the genre, and wakes it up.
  56. Yes
    Ultimately, Potter's fable is about how a catastrophe forces us to ask what we believe and why.
  57. "You're so lucky to live in Mexico," Luisa says. "Look at it -- it breathes with life." So does Y Tu Mama Tambien, both the pant of passion and shuddering sigh of regret.
  58. Lethal Weapon sinks an unexpectedly sharp hook at a delightfully unique angle, and never once lets up. A purposefully off- kilter flick, it fakes one way and moves another, thwarting our conditioned responses and fuelling our happy surprise. [6 Mar 1987, p.D1]
    • The Globe and Mail (Toronto)
  59. Norman is the "freak" bullied and ostracized and otherwise degraded by the alive-and-well crowd. Such is the outcast fate of most heroes in the best children's tales. And ParaNorman, a ghoulishly delightful exercise in stop-motion animation, is a very good children's tale indeed.
  60. Life is Sweet is sweet indeed - and comic and quirky and, on those occasions when the tone deftly shifts, just a little sad... Leigh's work, and the quotidian life it depicts, is sometimes slim but never insubstantial, occasionally sweet but never a sugary confection. And always worth celebrating. [24 Jan. 1992]
    • The Globe and Mail (Toronto)
    • 74 Metascore
    • 88 Critic Score
    Shot on a vintage Portapak video camera that actually predates the movie’s early-eighties setting and painstakingly crafted to resemble an analog artifact from a bygone era, Computer Chess is, ironically, a comedy about technological innovation.
  61. Another angry, searching document about pedophile priests, Deliver Us from Evil makes for unexpectedly gripping drama.
  62. TERRIFIC cast, imaginative direction - Patriot Games is such an enjoyable film that you keep hoping it will go the extra mile, that it will transcend the action-genre and progress from an intelligently made picture to an intelligently themed picture, That it doesn't - not quite, anyway - is mildly disappointing but easily forgiven; there's a lot to be grateful for here. [9 June 1992]
    • The Globe and Mail (Toronto)
  63. The result is a rare treat, a revival of a period piece that doesn't descend into mere quaintness or prettiness, and that manages to capture the spirit of an earlier time without sacrificing the perspective of our own.
  64. Waititi (who’s also responsible for the best comedy of 2015, "What We Do in the Shadows," and will next tackle the third "Thor" film) executes a series of deft narrative U-turns, twisting the tale into 101 minutes of pure comic joy.
  65. Most movies have music, some movies are musicals, but very few movies combine the two with the grace and pure eloquence of Once.
  66. Radwanski creates a visceral, impossible-to-ignore document of one man’s fraught reality. It is creative, bold and even dangerous filmmaking.
  67. If everyone in One False Move keeps making mistakes, there are no false moves from the technicians or actors; the only flaw is the slight taint of convenience that attends the plotting of so many contemporary thrillers. But the taint is superficial - it's eventually overwhelmed by the smell of corruption, the odour of pain, and the stench of hopelessness. [4 Sept 1992]
    • The Globe and Mail (Toronto)
  68. Nothing short of mesmerizing.
  69. Any culture that can create the kind of self-criticism exemplified in work of the Pittsburgh horror master is far from a lost cause. [29 June 1979]
    • The Globe and Mail (Toronto)
  70. Don’t Blink is a friendly film by a friend – honest and historically aware, but almost unfailingly affectionate and attuned to the “spontaneous intuition” that, 92 years after his birth, still seems the governing principle of Frank’s life.
    • 95 Metascore
    • 88 Critic Score
    There is no psychology in L'Argent, no acting to speak of; every scene is a minimal sketch which drives the didactic story forward. This use of narrative may sound ordinary, but, in Robert Bresson's pure filmmaking, it becomes extraordinarily relentless. [20 July 1984]
    • The Globe and Mail (Toronto)
  71. The major reason for Escape's success is Siegel's effortless expertise in re-creating the atmosphere of Alcatraz, an atmosphere in which, as the Warden says, good citizens were not made, but good prisoners were. As photographed by Bruce Surtees in rainy black and blue, the dogged, slow-motion swim through excelsior that constitutes prison existence is painfully and convincingly reproduced. For Eastwood, there is an extra bonus: if the milieu doesn't provide him with a reason for his stubbornly characteristic grimness, it does at least provide an excuse. [23 June 1979]
    • The Globe and Mail (Toronto)
  72. For those looking for a brash new entry in the cinematic landscape, Operation Avalanche is an almost otherworldly gift. The best part of all: No one had to die. I think.
  73. Both the most bewildering of the three movies and also the most brutally compelling.
  74. Persepolis is as modern as tomorrow's headlines and as classic as an ancient myth.
  75. This is not only a dandy, playful movie about a talking bear, but one that gives pause for thought, too.
  76. Haneke is best known for "The Piano Teacher." His latest, Caché (or Hidden) is a quieter but equally provocative attack. It's less in your face, more in your head and under your skin.
  77. Forman's treatment is another matter entirely - infinitely more subtle and, using the intrinsic bias of film, far more naturalistic. [18 Nov 1989]
    • The Globe and Mail (Toronto)
  78. From the start, it’s clear Anderson is working with a new sophistication both in the vocabulary and structure of the film’s voiceover narrations.
    • 78 Metascore
    • 88 Critic Score
    Gripping and thrilling, Nanfu Wang’s debut documentary is a raw look at women’s-rights activism in China.
    • 83 Metascore
    • 88 Critic Score
    Bathed in dusty hues and rain-forest greens, Ixcanul is gorgeously shot and skillfully frames Maria’s curbed sexuality (look to a scene where she waits for her younger crush in the evening shadows).
    • 70 Metascore
    • 88 Critic Score
    Here's a gorgeous little film.
  79. Some movies, a very few, possess the purity of myth, and they don't have to be great to be greatly important. "The Wild One" is an example; "Saturday Night Fever" is another. Now add 8 Mile to that short list.
  80. Days of Heaven is so unapologetically beautiful, so calculatingly gorgeous, it is certain to arouse resentment in the minds of those who find visual hedonism a sin in movies, and to arouse suspicion, if not outrage, in those who require that movies have heart. [22 Sept. 1978]
    • The Globe and Mail (Toronto)

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