The Globe and Mail (Toronto)'s Scores

For 4,628 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 Police, Adjective
Lowest review score: 0 The Wedding Ringer
Score distribution:
4628 movie reviews
  1. This movie sticks.
  2. This intimate portrait of the so-called godmother of punk is aimed at viewers who are keenly fascinated by Smith.
  3. Anyone who likes pop music or wonders how bands like the Rolling Stones got rolling will enjoy the ride.
  4. The result is a fairly co-ordinated effort that, despite a few miscues, yields a consistently watchable film.
  5. A welcome rarity: an amiable film comedy that leaves you feeling good as opposed to feeling for your wallet.
  6. A seriously black comedy. Black, because affliction and angst abound. Comic, because this rampant bleakness is presented as nothing more than an amusing bauble.
  7. The crash, lethal in an eye-blink, was hard to watch when I saw it live on television, and it's not any easier here. The day was clear – no rain in sight.
  8. Cloverfield is an exercise in realism that lacks reality's broader and richer context. Or, put another way, the experiment is artful, but it ain't art.
  9. Though its level of execution is consistently high, Rango is a non-pandering comedy that takes its message of western individualism seriously: It's here for you and your children to enjoy – or not – as you please.
  10. The comedy is warm and witty and wafer-thin, as easy on the palate as a raspberry sorbet on a summer afternoon.
    • 82 Metascore
    • 75 Critic Score
    Parenthood is a charming, amusing piece of work. It doesn't say anything new - Howard clings as tightly to tradition as Norman Rockwell - but it says the old things with enough wit and eloquence to keep them going for another generation. [2 Aug 1989, p.C7]
    • The Globe and Mail (Toronto)
  11. Red Heat, a terrifically funny and always frantic flick that hides a fascinating subtext beneath its commercial veneer. Very commercial - this should be a boffo hit; and very fascinating - the premise that props up the hit speaks volumes about America in the twilight of Reagan. [17 Jun 1988, p.C1]
    • The Globe and Mail (Toronto)
  12. Entertaining and informative documentary on how native people have been portrayed on-screen over the years and how these portrayals have shaped native self-perception and non-native prejudice.
  13. Happy Times may be the last of the "little" films from this remarkable director for some time.
    • 57 Metascore
    • 75 Critic Score
    Disney raised the stakes by turning its hit TV-movie franchise into a feature film – and the bet has paid off.
  14. Though something less than a masterpiece, The Illusionist is a rare animated film of fleeting charms rather than loud noises, aimed more at wistful adults than thrill-hungry kids.
  15. Call me biased, but I'm quick to put out the welcome mat for any movie – good, bad or indifferent – that resists easy categorizing. That's certainly the charm of Safety NotGuaranteed, which flirts with two very different genres yet never goes steady with either.
  16. Everyone should be thankful, if not for the doc's content, then certainly for its tone – there is no fulminating here. Instead, courtesy of Canadian co-directors Luc Côté and Patricio Henriquez, witnesses are quietly gathered and arguments are quietly made. For once, no one rants, and, in the relative calm, the tone can be heard, so muted and sad.
  17. There are those trying to position "Gone Girl" as the date-and-debate movie of the season, but it isn’t half the unsettling thriller Force Majeure is.
  18. On the positive side, it's still four back-to-back Simpsons episodes, which is still better than most of what either television or the movies have to offer.
  19. 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.
  20. La Bamba may in many ways be a catalogue of cliches, but they are cliches that Valens was able to live for his people for the first time, and they are cliches that Luis Valdez has been able to film for his people (for all people) for the first time.
    • The Globe and Mail (Toronto)
  21. That's partly why X-Men: First Class is such fanboy fun, as the script departs from official Marvel lore to invent a whole new "origin story" for the mutant ensemble.
  22. Abramovic is a sensationally attractive narcissist and the filmmakers are clearly smitten with her, but the film goes a long way to establish the intellectual seriousness and dedication involved in her ambitious series of art stunts.
  23. More heart-breaking and action-packed than one imagines from a monastery travelogue film.
  24. By Herzog's lofty standards, the result is mildly disappointing. The film lacks the sociological depth of "The Executioner's Song" or the emotional wallop of "In Cold Blood." But it sure is a surpassingly, and compellingly, strange tale.
    • 40 Metascore
    • 75 Critic Score
    It’s all in good fun, but it also wants to engage with children beyond hollow gags and pop songs, which are there, but kept to a tasteful minimum.
  25. Avatar is a king's ransom fairly well spent, not least because Cameron's invitation into his superbly crafted universe comes with an unexpected price: He makes it easy to gaze fondly on all this movie magic, but only in exchange for a hard look at ourselves.
  26. The Runaways captures the sleaze and innocence of the era and has some still-relevant things to say about the conflict between girl-rocker empowerment and exploitation.
  27. Sure, it's a bit mechanical, but what did you expect? The important thing is that the characters and jokes don't prevent you from grooving on the pleasures of the moving parts.
  28. While the story, shorn of its supernatural elements, is mired in abuse and tragedy, its effect is sensual and superficial.
  29. Certainly, his (Allen) work here feels effortless, and that feather-light touch gives the picture its charm – modest but real.
    • 76 Metascore
    • 75 Critic Score
    A film as lithe and seductive as its lethal main character.
    • 38 Metascore
    • 75 Critic Score
    Stupendously silly but viciously funny.
  30. Kimberly Reed’s debut documentary, Prodigal Sons, would make a terribly contrived novel, but is a compelling and sensational real-life story.
  31. Swords cross, blood spurts and bosoms heave in The Princess of Montpensier, French director Bertrand Tavernier's thoroughly ravishing drama.
  32. Ten
    Ten may strain your patience but that's the high-stakes gamble of this provocative project.
  33. A demanding blend of spectacle, drama and exposition of ideas.
  34. At its simple core, Sleeping Beauty is a perfectly pitched chamber piece about the menace of voluntary oblivion.
    • 35 Metascore
    • 75 Critic Score
    If Leguizamo imports a hint of pathos into his performance, Waterston adds a dollop of menace to hers, delivering another of Ross's attacks on what separates girls from men. In this world, women are their own worst enemy.
  35. With the bigger story and more fully developed relationships than the previous films, this is the first Twilight film that feels like a real movie in its own right.
  36. Terry produced some of the happiest sounds in the history of jazz; Keep on Keepin’ On keeps the smiles coming.
  37. Often refuses to adhere to the formula, sometimes offering a tantalizing ambiguity, other times aspiring to a more complex drama it cannot entirely deliver.
  38. Pretty much a non-stop head-bobbing knee-bouncer.
  39. A father-son academic rivalry provides fodder for this caustic comedy set in the Talmud Department of the Hebrew University of Jerusalem.
  40. Fatal Attraction becomes as seductive as the seduction it depicts. In the always stylish, sometimes careless hands of director Adrian Lyne, the film lures us in with an artful blend of stately pacing and caressing close-ups and brooding silences. [23 Sep 1987 p.C7]
    • The Globe and Mail (Toronto)
  41. The title comes from prosecutor Ferencz, who compares his work to that of the 16th-century astronomer Tycho Brahe, who said he watched the sky so future generations could use him as their foundation.
  42. In a demanding role light on dialogue, Sutherland’s rangy, loping physicality serves both the character and the action well – camera and fugitive are seldom at rest, and on the move in tense, extended bursts whenever an opportunity presents itself.
    • 73 Metascore
    • 75 Critic Score
    While "Wedding Crashers" ultimately succumbs to endorsing the mushy romantic clichés that it spends the rest of the time ridiculing, The 40-Year-Old Virgin offers a wiser take on the anxieties, negotiations and expectations that surround love and sex, particularly for people who've been burned before.
  43. Ambitious and brooding, Coogan has the darker nature; lighthearted and affable, Brydon is all sunny-side up. Happily, both possess a devilishly quick wit and the need to go beyond self-impersonation to the more celebrated variety.
    • 93 Metascore
    • 75 Critic Score
    How refreshing then to find a movie with an honest-to-gosh dysfunctional family at its core, a family utterly Tolstoyan in its unhappiness, utterly Dostoevskyan in its despair. [16 Jun 1995]
    • The Globe and Mail (Toronto)
  44. Sandburg’s "The Prairie Years" is a source behind The Better Angels, a gorgeous look at the raw, wooded Indiana of the early 1800s and a dreamy study of the boy Lincoln who was destined to leave it behind.
  45. No matter who you side with here, Waste Land – the title should come with a question mark – is a fascinating adventure, populated by memorable characters.
  46. An odd and irresistible documentary.
  47. The structure of the film mirrors the changes in the joke which in turn reflect the moral of the story -- hey, it's all a matter of perspective.
  48. By the end of the The Spectacular Now, you’re not quite ready to let these characters go. Instead, like director François Truffaut did with his character Antoine Doinel in a series of films, you want to check back with them every few years, to see how how they’re getting on.
  49. A twofold story of heroic achievements and personal failings.
  50. Both an homage to his dad and a backstage story rich in Hollywood lore.
    • tbd Metascore
    • 75 Critic Score
    It's pure emotion. Drumming, for these masters of the instrument, is about communication, acceptance and, above all, deep love.
  51. The documentary My Date with Drew is "Don Quixote" meets "Bowfinger" meets "Swingers" for the reality-TV generation.
  52. Director Scott, flashy, fluid and at his best in the steely-blue claustrophic battle-training scenes, immerses the viewer in the process.
  53. The look is fine, the effects are special, the cast is solid, and Jordan (in company with Rice) makes a commendable effort to add a cerebral dimension to a visceral genre.
  54. You have to feel pleased just for the existence of a film like Tim Burton's Frankenweenie. A 3-D, black-and-white, stop-motion animated film, it's a one-man blow for cinematic biodiversity.
  55. Mangold mostly lets Logan stand as a showcase for Jackman, that rare performer who can take an already-iconic figure and own him completely, to the point where it’s hard to divorce the two.
  56. In this vast balloon of a film, Bardem is the ballast – that Manichean face is a movie onto itself.
    • 36 Metascore
    • 75 Critic Score
    It's all so geekily gorgeous, it hardly matters that the narrative lapses in and out of incoherence and the dialogue is functional at best.
  57. Alps, in spite of its title, is a very flat film, from the shallow focus photography, to the actors' monotone delivery.
  58. The excesses are easy to forgive, both for the humour and charisma of Rourke's outsized performance and Aronofsky's canny low-key direction, which make for a combination that is irresistible.
  59. A believable, tender story of how a terrible crisis can turn out to have a positive, transforming effect on a family as long as there is love.
  60. The result is a picture curiously yet intriguingly at odds with itself: One moment is edgy, the next is not; the cast is terrific, the direction is not; here it’s satirically sharp, there it’s sloppily sentimental; now we’re happily engaged, then we’re cruelly dumped. Some films are electric – Admission settles for alternating current.
  61. A fine bilingual cast, haunting period detail and a provocative approach to a twisting story carry the day.
  62. Unlike Brian De Palma, Lynch is not a natural conversationalist, so the result is a stiched-together narrative that is as curious and occasionally frustrating as the man himself.
  63. Surprisingly touching and funny.
  64. As he did with "Once," Carney with the somewhat autobiographical Sing Street mixes hardscrabble realism with highly charged romanticism, filmed on a low budget with mostly unknown talent.
    • 74 Metascore
    • 75 Critic Score
    For those who have read the book, this contemporary adaptation of a once avant-garde story feels exactly right.
  65. Somewhere between profound and ludicrous, kind of like a cross between "Waiting for Godot" and "Dude, Where's My Car?"
  66. All the signs pointed to a major movie achievement...And it does -- sometimes, and dazzlingly so. But the dazzle doesn't add up to the sustained act of brilliance I'd been expecting.
    • 80 Metascore
    • 75 Critic Score
    Even in death, Kato has been harassed. In one of this movie’s many unsettling scenes, a pastor interrupts his funeral to condemn the dead man to eternal damnation.
  67. Subtly crafted and compelling, but it suffers from a case of split personality.
  68. Compared with the recent spate of blockbuster sellouts, Severance is a worthy package, and fair compensation for time spent. Best to watch on the big screen, of course.
  69. The voice that jerks out from Levy's throat suggests Lazarus waking from the dead.
  70. Korean-American actor and former model Yune (who played a similar role in "Die Another Day," the last Pierce Brosnan James Bond film) makes a colourful villain – handsome and insufferably assured, and also an unchivalrous sadist who kicks around the Secretary of Defense (Melissa Leo in a pageboy wig) as though she’s a hacky sack.
  71. [Nolan is] back in the fine engineering business, crafting a story as intricately designed as a magician's lock, tightly packed with tumblers of deception and issuing a fun challenge to any volunteers in the audience: Just try to pick it.
  72. Like Martin Scorsese's "The Departed" or James Gray's "We Own the Night," The Town is a deliberately old-fashioned melodrama that echoes the pulpy mix of violence and romanticism of gangster films of the Thirties and Forties.
  73. The focus of Invictus is less on Mandela's psychology than his willpower and political astuteness.
  74. Yossi is an early spring breeze of a film – too delicate to be substantial but definitely holding the promise of warmth.
  75. There's fun to be had in watching these losers drift without a compass.
  76. It's a good film. But its exotic allure may lead some to mistake it for a great one.
  77. Given Paine's penchant for B-movie-sounding titles, let's hope he gets to make it a trilogy that concludes with The Electric Car Lives!
  78. It's definitely a Diablo Codyesque cut above the norm – the wit can sometimes feel contrived but at least there's wit to be found.
  79. McNaughton's film, which has been described as "too arty for the blood crowd and too bloody for the art crowd," is an exercise in revulsion by an often skilled filmmaker. [8 Oct 1990]
    • The Globe and Mail (Toronto)
    • 62 Metascore
    • 75 Critic Score
    Bug
    It's one helluva movie that makes Ashley Judd look ugly and demented, while turning Harry Connick Jr. into the most frightening screen thug since Ben Kingsley in "Sexy Beast."
  80. A film of deceptive narrative wisps and intricate thematic curls.
  81. Indeed, like all bureaucracies, the educational version is a bit of a bully itself. In Sioux City at least, the official response to bullying is to recognize its existence but to deny it's an "overwhelming issue," and retreat behind the comforting bromide that "kids will be kids."
  82. Like the blues, you feel it first, and think of the meaning later.
    • 50 Metascore
    • 75 Critic Score
    Funnier than "Nacho Libre," more fashionable than "The Devil Wears Prada," able to deliver more revengeful thrills than "X-Men: The Last Stand" in a single scene, My Super Ex-Girlfriend may sound like a midsummer mash of "The Break-Up" and "Superman," but it's more clever and emotionally resonant than that.
  83. With a track record that stretches from "Monster's Ball" all the way to "Finding Neverland," Forster is clearly a director at ease with a wide range of material. He's found confection-land here, setting his beater on ready-whip and mixing the dough just fine.
  84. Intended as food for thought, but all we really get is a light snack -- the kind that's heavier in presentation than in substance.
  85. This is a formula film with panache.
  86. A sprawling personal journey, filled with an array of fascinating characters, through the world of wine.

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