The Globe and Mail (Toronto)'s Scores

For 3,928 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Police, Adjective
Lowest review score: 0 Another 48 Hrs.
Score distribution:
3,928 movie reviews
    • 71 Metascore
    • 75 Critic Score
    All in all, a perfectly superior example of industrially fortified Hollywood fun, and as good a guarantee as Doug Liman can offer that we haven’t seen the last of him yet.
  1. The result actually plays like a divine pronouncement, cosmic in scope and oracular in tone, a cinematic sermon on the mount that shows its creator in exquisite form.
  2. Always engaging and often compelling.
  3. The result is good dirty fun, flecked with enough wit to help you overlook the relatively barren characterization.
  4. 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.
  5. The movie's big kick – what makes Enchanted live up to its title – is that the further Giselle progresses in New York, the more we feel like we've tumbled into a timeless Disney Neverland.
    • 57 Metascore
    • 75 Critic Score
    The film surrounding the performance is not always as strong, but the centre holds, and magnificently so.
  6. Fortunately, there's always the fascination of watching actor Toni Servillo, who does a brilliant job of playing Andreotti (known as Beelzebub) as a kind of devil with a clown's exterior.
  7. This time out, with a few exceptions, the inspiration feels solid and earned, not saccharine and contrived.
  8. Johannes Vermeer is still a genius at documentary’s end but a fathomable genius, as much scientist as artist, a driven, resourceful creator whose conceptual and compositional brilliance remains undiminished by whatever techniques Jenison, Hockney and crew ascribe to him.
  9. Still, credit Gondry, like Tocqueville before him, with at least re-examining tired clichés and scraping the rust off stereotypes.
  10. Though the threat of exposure and incarceration lurk behind every story, the characters' ingenuity and humour serve as impudent alternatives to authoritarian stupidity and brutality.
  11. It's a screwball comedy, with a possible debt to Preston Sturges's 1942 film, "The Miracle of Morgan Creek," a movie inspired by the Dionne quintuplets, and similarly set in a small town turned upside down by media and political showboating.
  12. The beautifully photographed film is quite stylized at times...But it manages to steer clear of the stereotypes one might expect of a movie set in this time and place, thanks in part to the underlying and, mostly, underplayed themes of spirituality and the search for identity.
  13. Jam-packed but never disorienting, Cool It will definitely get your head spinning.
  14. Although there are definite lags here, those "glittering" set-pieces are funny enough (at least one is hilarious) to stave off any prolonged yawns.
  15. A horror movie based on history, offering some of the most spectacularly brutal, viscerally intense battle scenes ever brought to a Hollywood movie.
  16. In many areas, Food Inc. could be accused of being a fast-food version of a documentary – it's everywhere at once, skipping across the surface of a vast subject, and adding nuggets of sweetness to the scary filler.
  17. The film is an attack on religious hypocrisy, mixing melodrama and black humour in a volatile blend.
  18. The results are generally refreshing. Much of the film takes place inside a theatre, as if to suggest the shenanigans of the Saint Petersburg aristocracy were a form of public entertainment.
  19. 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.
  20. This is a war film with an anti-epic feel, best when it forgoes the forced march of plot to hunker down in the trenches of our flawed humanity.
    • 72 Metascore
    • 75 Critic Score
    The film manages to make surprisingly convincing gestures toward the power of communion, and indeed pantomime, that make the world shine a bit more hopeful.
    • 80 Metascore
    • 75 Critic Score
    Even though the subject of this British documentary is a traveller who got lost in a more terrestrial sort of void, the spirit of the stranded astronaut haunts Deep Water.
  21. It's got thrills and chills and one of the most elegantly conceived monsters in the history of movies.
  22. 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.
    • 76 Metascore
    • 75 Critic Score
    Mud
    So yes, Mud is messy, but it’s also rich and earthy in a way that suggests a filmmaker who is deeply immersed in his story, his characters and his surroundings.
  23. Zathura involves a lot of yelling, a lot of explosions and a lot of flying objects -- but what else would you expect from a movie that is, honestly for a change, intended for 10-year-old boys?
  24. A Touch of Sin is a distinct departure, dipping into the pulpy martial arts tradition in a scathing portrait of post-Maoist China, where money is the new religion and horrific violence is its by-product.
  25. The film is a vertiginous experience of hanging 350 kilometres above the Earth.
    • 68 Metascore
    • 75 Critic Score
    Chef is compelling, somewhat convincing and, according to many who know better than I, it’s largely on trend.
  26. Surprisingly entertaining.
  27. Pitt and Damon deliver the best lines (wisecracks about the food chain, predators and evolution, etc.) but their characters also represent most of us.
  28. Undoubtedly the rudest and possibly the most inspired comedy of the summer.
  29. It's a pretty fine film, thanks largely to the performances (and look) of its crackerjack cast, as well as Jonathan Freeman's restless, gritty cinematography and a lickety-split script.
  30. Here's a truly novel sports film: It actually has a script, decent acting, sympathetic characters. And it's fun.
  31. The title leaves no doubt about the ending but, thanks to Santos's unflinching performance and Rodrigues's continued audaciousness, the climax still takes us aback.
  32. Buffy The Vampire Slayer should be a mess, but it's not. It's a mini-comic triumph, and although it's technically a teen movie, it's in the tiny genre of sophisticated, darkly funny teen films such as Heathers and Pump Up the Volume. [4 Aug 1992, p.C1]
    • The Globe and Mail (Toronto)
  33. Though there are moments when the drama turns into intellectual debate, the film is also emotional, moving with a fluid, mounting tension and moments of anguish and strange, startling humour.
  34. Mainly, though, it's the exquisite restraint - both of Cornish's performance and Campion's direction - that gives the film its power.
  35. In the end, then, just Vanessa Redgrave and Terence Stamp and those voices – their solos contain this picture like carved book-ends, vintage and lovely and still so profoundly of use.
  36. An unusually smartly written and performed American independent film.
  37. The best of The Desolation of Smaug is saved for the last, when Bilbo goes to steal from the massive fire-breathing dragon, Smaug. The orange-eyed beast is voiced by Benedict Cumberbatch, who, through a sludge of voice-altering electronics, seethes and preens between fiery exhalations; this scene is one of the few occasions in the film where anyone actually takes time to talk.
    • 74 Metascore
    • 75 Critic Score
    A satisfying thriller interestingly complicated by its study of character and compromise.
    • 68 Metascore
    • 75 Critic Score
    As it turns out, making money selling drugs is pretty win-win as far as it goes, but keeping it is another matter. So the title isn’t so much a joke as a bleak comment on a desperately cynical economy: In the drug trade, as well as the dubious “war” declared against it, everybody ultimately loses.
  38. The combined talents of Apted, Stoppard and the stellar cast make Enigma a puzzle worth solving.
  39. Yet, about as often as Marvin's Room strikes a chord of emotional authenticity, it hits a fistful of false notes as well.
    • 63 Metascore
    • 75 Critic Score
    The kind of movie that kids used to flock to on Saturday afternoons in the forties and fifties.
  40. A good film prevented from being a great film by an act of well-intentioned but misguided casting.
  41. Timoner offers a resonant, often painfully funny, drama about two good friends who become enemies against the backdrop of the pop-music business.
    • 64 Metascore
    • 75 Critic Score
    The film is much more subversive for treading back and forth between the political and the personal, the Arab and the Israeli points of view.
  42. Love it, hate it, but be sure to watch it, because this odd and disturbing picture is as different as the war it reflects, and that difference is vast enough to seem profound.
    • 79 Metascore
    • 75 Critic Score
    The hook of The Crash Reel is that it’s about the rivalry between two famous American snowboarders, but in reality, Lucy Walker’s slickly produced documentary is about one man’s ongoing battle with himself – on and off the slopes.
    • 62 Metascore
    • 75 Critic Score
    From the film's bravura opening scene to its cute but bloody conclusion, The Negotiator plays out as tautly as any crowd-pleasing action flick since Die Hard,which it emulates with shameless glee.
  43. What always feels genuine, movingly so, are the faces of the school children caught up in their account of the unforgotten past.
    • 68 Metascore
    • 75 Critic Score
    The film’s bleakness is almost satirical. It’s "Brazil" drained of the daydreams.
  44. The strength of this documentary lies in its balance, or at least the careful appearance of balance.
  45. The freestyle approach is an apt fit with the freestyle, spontaneous comedy, as both the playful director and affable star capture moments on the fly.
  46. The pitch on Dear White People is that it’s “Do the Right Thing for the Obama generation,” which is both an oversell and a disservice to Justin Simien’s witty satire about race relations on a fictional Ivy League campus.
  47. Mostly, it's a Coen brothers movie so slick, so careful in rationing its darkly perverse and personal elements, that it seems suspiciously sweet. Intolerable Cruelty feels like the Coens' peculiar new way of being cynical, by pretending they're not.
  48. Unlike Todd Solondz's "Happiness," Mysterious Skin is not an abuse movie that seeks to offend or upset.
  49. The result is the kind of feel-bad/feel-good movie that brazenly manipulates our response and leaves us grateful for it -- so relentlessly dark is the premise that, by the end, we just need to believe in the prospect of light.
  50. A grownup departure from the teen-romance norm -- it speaks nothing about passion and volumes about trust.
  51. This is an affecting picture that leaves the viewer as wrung out as the protagonist. No doubt you'll be seduced but, in the end, you may also feel abandoned.
  52. But it’s Rooney who commands the most attention. As she already proved in David Fincher’s "The Social Network" and "The Girl with the Dragon Tattoo," she has an oddly fascinating screen presence, suggesting both vulnerability and inscrutable levels of calculation. Few actors or actresses can make inexpressiveness look so smart.
  53. Quitting begins to seem intriguing in concept. Now comes the best news: It's just as compelling in execution.
    • 72 Metascore
    • 75 Critic Score
    Even if you were never the sort who cared what goes on behind others’ closed doors, the Hawkings’ drama is catnip. And if you’ll excuse the pun, you could say it was only a matter of time before Hollywood came calling.
  54. Essentially agenda-free, My Perestroika has the quality of a candid conversation with long-lost cousins from another country.
    • 81 Metascore
    • 75 Critic Score
    Top Five finds Rock in an elevated form, at 49. Things change, sometimes for the better.
  55. No doubt, Blood Brother is narrowly focused on Braat’s needs and evolution, but in contrast to social-issue films filled with talking-head experts and bullet-point graphs, this is a portrait of a caregiver that goes to the core of motivation – in this case, the need to share love.
  56. Sometimes, the quiet lyricism of DuVernay’s direction seems at odds with the grittiness of the subject matter, like poetry force-fed into prose.
  57. Possibly no one else does "grim" with as much unsparing enthusiasm as the Scandinavians.
  58. The Clowns and the Krumpers have a rivalry that parallels the Bloods and the Crips battle for the neighbourhood, but fought out in moves, not bullets.
  59. Ali
    It's not Smith's fault that the movie can't quite pry apart the man from the myth from the metaphor. The three may well be inseparable by now and, at this point in his history and ours, that's surely the way we prefer it.
  60. Ultimately, the performances carry the film.
  61. It may be a slim story, but its gentle humour, natural rhythm and above all authentic performances make Tomboy beautiful, intimate cinema.
    • 65 Metascore
    • 75 Critic Score
    The question subtly, craftily documented in The Swell Season is whether the fans or Hansard himself want to see the singer cast in this new role of success.
  62. Ultimately, Shine a Light is illuminating indeed, even fascinating, but not in the way Scorsese intended. What he has created, inadvertently, is an invaluable documentation of semi-fossilized Stones – musicologists may like it, sociologists should love it and, some distant day, anthropologists will treasure it.
  63. As a young man he dreamed of racing cars. Now he rides a bicycle to the market each day, to negotiate with an elite fraternity of top fish dealers, who save their best for Jiri's restaurant. Like the fish that are disappearing from the oceans, they're probably the last of a breed.
  64. A movie that is often as awkward and as filled with mixed impulses as the age it documents.
  65. A conventional mixture of thriller and moral drama, the film is unsettling in both intentional and unintentional ways.
  66. In a series of mini-rants with insights that range from the ho-hum to the profound, the sixtysomething Žižek, paunchy, bearded and bobbing his hands like a squirrel’s paws, rummages through what he calls the trash can of ideology.
  67. Unlike "Being John Malkovich," which JCVD sometimes resembles, there is no secret portal to the star's head; instead, the audience gets a fleeting glimpse through the smeared window of his soul.
  68. As torpedoes shoot through the seas and depth charges pass by, carrying their whining cargo of destruction, Das Boot brings the presence of death to within a whisper of the eardrum.
    • 68 Metascore
    • 75 Critic Score
    It's rare for a documentary style to match its subject so ideally.
  69. Throughout, Dorff is doggedly credible as an obtuse actor, but the richer performance here is from Fanning, and it might have been a stronger movie told from her character's point of view.
  70. What do you get when you cross King Kong with E.T.? Harry And The Hendersons is what, and it's a delightful enough offspring - often funny, occasionally charming and always mighty eager to please. Too eager at times, but that's a forgivable flaw in an otherwise engaging hybrid. [5 June 1987]
    • The Globe and Mail (Toronto)
    • 66 Metascore
    • 75 Critic Score
    Trading Places, which is wildly funny at times, is Murphy's film. [10 Jun 1983]
    • The Globe and Mail (Toronto)
  71. 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.
  72. The combination of Hardy’s almost androgynous features and powerful physique evokes a young Marlon Brando, and while it’s premature to say he has a talent to match, he has emerged as one of the screen’s most versatile and compelling presences. Locke is what you might call his sedentary tour de force.
  73. What's right about Horrible Bosses is less easy to identify, but it comes down to something like esprit de corps. The three principal actors click. The looseness of the structure actually proves a benefit, allowing Bateman, Sudeikis and Day, all trained on television comedy, to bounce off each other, talk over each other and apparently pull lines out of the air.
  74. An emotionally powerful if somewhat divided experience. The grimness, the sweat, the panic are there in Saving Private Ryan-level intensity. At the same time, you never entirely lose the sense that the movie is a formal and calculated cinematic exercise, something of an illustrated argument.
  75. Shakespeare would have delighted in the chapter, especially in the antagonist, but not at the expense of the longer and darker and still-unfinished book.
  76. The film extends Jackie's fame beyond her allotted New York 15 minutes and keeps it alive 30 years later, thanks to a mixture of fond high-profile interviews and grainy archival clips.
  77. 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."
  78. With its intricate design, sly humour and timely theme, Travellers and Magicians is a lot more than just a travelogue.
  79. Over all, Neil Young Journeys is a pretty solemn affair, kinda like the man himself.
  80. For once, the gimmick is a perfect reflection of the characters.
  81. Great title, and the whiff of existential loneliness that it conjures up – brothers locked not in solidarity but in solitude – permeates the entire movie.
  82. The movie's climax takes Harry Potter into territory that is much more like epic horror than most of what the series has seen before. There is more obvious religious symbolism and apocalyptic violence as Harry emerges into his role as “the chosen one.”

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