The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,856 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Tangled
Lowest review score: 0 Harlem Nights
Score distribution:
3,856 movie reviews
  1. Beijing Bicycle is a good film that owes a huge debt to a better film. And that, of course, is Vittorio De Sica's "The Bicycle Thief."
  2. Amadeus needs an additional 20 minutes running time like "The Magic Flute" needs a drum solo. Though the production is gussied up with more frills and decoration than a Viennese dessert trolley, Forman is generally workmanlike in his visual style and very uneven with his handling of actors.
  3. This is a remarkably good-looking near-corpse of a film, with a pulse that fades in and out.
  4. Filled with a sweet, loopy sensibility and some fresh comic turns, Welcome to Collinwood is a low-budget American film that falls into the good-but-slight category.
  5. It's a nifty caper flick that also ponders the aesthetic nature of deception -- in other words, a solid work of craft that doubles as a little meditation on art.
  6. The best thing the film does is to show us not only what that mind looks like, but how the creative process itself operates: messily, erratically, outside of most people's morality, but with a force and purposiveness that makes the machinations of the rest of us look irresolute by comparison.
  7. Imperfect, but certainly provocative.
  8. A grownup departure from the teen-romance norm -- it speaks nothing about passion and volumes about trust.
  9. A painful documentary film, partly because of its subject, partly because of the troubling questions raised by the filmmaker's approach.
  10. A movie that is often as awkward and as filled with mixed impulses as the age it documents.
  11. At best, the humour in Election is perceptive, nasty, pointed, and lets no one off its barbed hook, not even the audience. In other words, it's a lovely piece of satire, made all the more relevant by the setting.
  12. Both a triumph of design and cinematic engineering and, at the same time, long, repetitious and naive.
  13. Somewhere between profound and ludicrous, kind of like a cross between "Waiting for Godot" and "Dude, Where's My Car?"
  14. A very funny, very unusual ensemble comedy that falls somewhere between slapdash and brilliant, an improvised comedy with more hits than misses. It's also an oddly touching tribute to the joys of show biz.
  15. Highly entertaining.
  16. This concoction, so bizarre to the adult mind, is actually a charming triumph where its intended under-12 audience is concerned.
  17. Each character in David Webb Peoples' dense, unexpectedly stately, non- violent script (the inevitable gore is employed sparingly) is treated with that same, somewhat distanced clarity.
  18. Always engaging and often compelling.
  19. Smart, serious and deftly composed, New York director Jill Sprecher's jigsaw anthology film, Thirteen Conversations About One Thing, is the kind of work you want to applaud just for its ambitions.
  20. The result is good dirty fun, flecked with enough wit to help you overlook the relatively barren characterization.
  21. For all the undeniable merits, it somehow feels manufactured, and thus, to a degree, calculated - the product not of a collective imagination taking esthetic chances, but of an imaginative collective putting the rivets into a well-wrought plan that can't go awry.
  22. If the publicity release can be believed, he worked an entire year "undercover as a student to research teenage life". On the basis of what surfaces here - one stock phrase (the kids say "Go for it]" a lot) and a multitude of stock characters - Crowe might better have spent the time curled up with re-runs of Ozzie and Harriet. Give this intrepid researcher 12 months at General Motors and he might just discover the wheel.
  23. Has a refreshingly different twist: What we have here is a "what if" comedy.
  24. The return to an Errol Flynn-style hero, who can swing from chandeliers, fight with two swords at once and ride a horse backward, recalls a movie era both sexier and more innocent.
  25. The result takes the audience on a screwball odyssey that mixes engaging twists with off-putting turns -- often fun, always watchable, but never quite as good as it could be.
  26. Like no other war movie you've ever seen.
    • 64 Metascore
    • 75 Critic Score
    By the end of Trekkies,you almost feel the best way to bring peace to the Middle East would be to hold a Star Trek convention there.
  27. This is a great film for those who share the disabused French view of grownup life, but more particularly for those who want to see one of the great actresses of her generation at the height of her powers.
  28. The wildly ambitious but flawed biographical film about the English cellist Jacqueline du Pré.
  29. There's a missing element whose absence, forgive me, I can't help but lament. This is a movie about magic that ultimately lacks the magic of movies."
  30. There's plenty of humour in Comedian but not a lot of happiness -- apparently, the sad clown is a cliché for good reason.
  31. With Corbett's laidback persona nicely countering Vardalos's authorial performance, the picture radiates a pure affability that's awfully attractive. My Big Fat Greek Wedding is a very slim movie that succeeds on its own modest terms without pretense or apology.
  32. With little dialogue to assist her -- just the strains of that wonderfully organic music -- she still manages to suggest the internal struggle, and to slowly reveal a fierce toughness that flies in the face of conventional morality.
  33. Intended as food for thought, but all we really get is a light snack -- the kind that's heavier in presentation than in substance.
  34. Visually, this movie is exquisite. Narratively, well, that's a more banal story.
  35. The result is a beautifully designed, lyrical fable of a movie, full of God's-eye shots from on high, placing the characters against the Italian scenery and medieval architecture.
  36. Comes as a pleasure. It's a comic drama set in a Chicago hair salon where the characters are engaging and the story has a bustling richness.
  37. If you ever doubted the power and scope of silent film, watch The Way Home. The narrative arc is as broad as any chattering feature, the emotional depth is greater than most, and it's all achieved with virtually no dialogue.
  38. Entertaining and well done. Without losing its comic rhythm for a moment, it is also a withering spoof of black victimism and the corrupting effect of racial solidarity on the American legal system.
  39. But uneven acting isn't fatal here, since Andrew Bergman's screenplay is strong enough and Andrew Fleming's direction seamless enough to carry it forward.
  40. It's a pinball arcade of a flick -- the Coens invent a bunch of wonderfully flaky characters, stick them into a Plexiglas narrative, and let them bounce off each other.
  41. What better casting than Al Pacino, whose own career, of course, has reflected all the seasonal changes in the gangster saga. Pacino takes the part and runs with it so boldly that he ends up in Arthur Miller land.
  42. Quitting begins to seem intriguing in concept. Now comes the best news: It's just as compelling in execution.
  43. Fun, fun, fun. Take the title at its word, because this movie is nothing less than a flat-out, lung-pumping, 76-minute sprint.
  44. Actually a pretty entertaining movie, in a kick-you-in-the-pants kind of way. A relative rarity -- a solid no-brow comedy.
  45. Titanic is awesome even when it's awful -- you can't take your eyes off the extraordinary thing.
  46. Now if that isn't an inspirational story, it's hard to know what is.
  47. The love that blooms is essentially between the boys. They both have some considerable growing up to do, but theirs is a true romance and it's awfully sweet. Funny, too.
  48. The movie could have used a further dose of the resonance Walken gives it, and a more intellectually adventurous director might have brought the theme close to home.
  49. An ultra-cheap movie, ingeniously promoted through the Internet -- is notable primarily as a model of guerrilla-style niche-marketing.
  50. This is a grimly thrilling movie that falls somewhere between clear-eyed realism and the improbabilities of an action flick.
  51. It's a cop movie that refuses to cop out in the usual way.
  52. Both smart and shrewd -- it wraps that same comforting message in a thoroughly entertaining package.
  53. Ten
    Ten may strain your patience but that's the high-stakes gamble of this provocative project.
  54. It is, in short, a compendium of clichés, yet with a presentation that makes the familiar seem remarkably warm and fresh.
  55. The film is like an Ingmar Bergman movie as realized by Monty Python: It's seriously gloomy about the loss of spirituality in the world, but at the same time rudely, sometimes hilariously, absurd.
  56. An impressive film accomplishment, a combination of technique and extremely specific detail that reminds viewers how potent a rhetorical force the medium can be.
  57. The well chosen cast helps -- no one strikes a false note.
  58. The artistry of the storytelling, the visual approach and Gosling's performance in The Believer make us believe that Danny's path was the only choice for him, a truly disturbing and fascinating revelation.
  59. The value of Amandla! is that the film helps the rest of the world understand, both with our ears and minds, where South Africans have come from.
  60. In the midst of this emotional train wreck in motion, with angry outbursts and accusations, there are moments of levity, jokes and even a song or two. Strangely, it does not seem irreverent or bizarre but, rather, an expression of affection, as if love is tearing them apart.
  61. Ultimately, Benigni's comic refinery merely transforms the banality of evil into a lesser sin -- the evil of banality.
  62. If this rings distant Laurel-and-Hardy, or even Crosby-and-Hope bells, it's on purpose. Gooding's and Sanz's performances are almost a tribute to vaudeville-influenced two-guy comedy.
  63. Despite a formidable effort and occasional grace, there's something cowardly about Braveheart -- it's an aspiring giant with a diminutive soul.
  64. You probably have a better chance of stuffing an octopus into a tea cup than capturing one of Dickens's fat novels in a two-hour movie.
  65. Rarely does a fine movie like this have so awkward a title, or so off-putting an opening scene. But there is method in both these madnesses, and a searchingly intelligent and moving story to be told.
  66. Pi
    Audacious and bursting with ideas, the paranoid little sci-fi independent film Pi marks an auspicious debut for New York writer Darren Aronofsky.
  67. More about Ali as media star and social figure, less about the quicksilver athlete.
  68. In God's ghetto, as in so many of the world's forsaken places, warring armies of infants brandish their weapons of self-destruction, while politicians bluster and inspectors sleep.
  69. In the ongoing case of the fan versus the movies, the evidence suggests that a good policier is damn hard to find. So when you come across one that can boast a decent script, taut direction and a single superb performance, there's no need for prolonged deliberation.
  70. Generally makes good on its promise. There are shivers to be felt, especially in the early stages, and there's fun to be had, including the post-movie pleasure of detecting the soft spots in the plot. The result is an always-watchable picture from a director capable of more.
  71. Sometimes, when you least expect it, Hollywood is so Hollywood good, serving up a flick guaranteed to answer the clarion call of the multitudes. "I just want to be entertained," you say? Well, fork out then, because The Italian Job does the job.
  72. Utterly preposterous but so full of enthusiasm and flashy style that it's entertaining anyway, The Brotherhood of the Wolf is like the platypus of genre films.
  73. For all its contrivance, it's lively and amusing and occasionally disconcerting in its reproduction of what life was like in the mid-to-late teens.
  74. Only after the Hollywood hypnotism wears off is it apparent that Rain Man, fundamentally an artsy sentimentalization of "The Odd Couple," is somewhat less than the sum of its perfect parts.
  75. One of the more ingenious and fresh surprises of the summer.
  76. Visually the film is a knockout. I'm not sure this will matter to the young adult audience, but the film is philosophically confusing.
  77. It's a fascinating babel, and Nair, using the unfolding ritual of the wedding as a centre point, captures the competing sights and sounds with her own unique mix of cinematic borrowings -- think Robert Altman meets Bollywood.
  78. Part of the charm of Satin Rouge is that it avoids the obvious with humour and lightness.
  79. A horror movie based on history, offering some of the most spectacularly brutal, viscerally intense battle scenes ever brought to a Hollywood movie.
  80. Undoubtedly the rudest and possibly the most inspired comedy of the summer.
  81. Loses its momentum just when you'd expect the suspense to mount -- at the competition itself.
  82. That level of acting-without-words demands the likes of a Bruno Ganz or a Klaus Maria Brandauer, not a Clooney. Even when flashing his bare derrière in a sex scene, he isn't revealing nearly enough -- his work is just skin deep.
  83. There's a particular upside-down, half-masked kiss that instantly becomes one of movie history's more memorable smooches. It's the kiss to send any teenaged boy on a spinning high, as well as launching the new age of arachnophilia.
  84. A flashy nineties flick with a campy fifties feel -- it's playful, naive, clever, silly, often inventive, occasionally uneven and, compared to studio offerings to date, the best present under this year's cinematic tree.
  85. The Motown musicians today are in their 60s and 70s but they remain inspiringly colourful, funny in their stories and assured in their musicianship.
  86. Mamet's stylized dialogue, elaborate plot puzzles and the angry cleverness of his characterization makes for an invigorating, if not exactly likeable, mix.
  87. Too bad there's also a final 15 minutes that surely ranks among the worst endings an otherwise good movie has ever received.
  88. Around about the third act, the picture does what no self-respecting virus ever would -- relents, turns confused, and lets our immune system fight back with thoughts of its own, with distracting cavils about the logic of the plot and the slightness of the themes.
  89. Myers's sheer fertility of invention is of a different order, and even if he misses as often as he hits, he's definitely a swinger.
  90. Not just a 3-D novelty to amuse school groups, but also a memorial.
  91. For those who have been waiting for movies to catch up with the graphic possibilities of comic books, wait no longer: The Matrix is among us.
  92. A drama that's often insightful and occasionally powerful but is still, at heart, a piece of television and not a work of film.
  93. Often more ingenious in appearance than fact. The hunter-gets-captured-by-the-game scenario is predictable and the sequence of shell games does not, when reconsidered, actually add up.
  94. Energetic, eager-to-please culture-clash comedy.
  95. Tuned in to the anarchic wisecracks and slapstick humour of traditional Warner Bros. cartoons. In contrast to the computer-generated characters and slick script of a movie like "Shrek," Lilo and Stitch still feels like a cartoon aimed at kids, not their parents.
  96. One of Stephen Chow's extravagant and very funny martial-arts spoof movies.
  97. The results are not monumental, but they are a variety of sober responses to the tragedy that help place the event in a global context. Some of the films may be, as has been suggested, anti-American in tone, but none come anywhere near defending the attacks.
  98. Delightful as it often is, the picture suffers fom the same structural and thematic tidiness, even smugness, that it nominally opposes.
  99. An integrated work whose form clearly mirrors its content. Often, looking into that mirror is dreadful; but, often enough, it's also dreadfully revealing.

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