The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,904 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 Before Sunrise
Lowest review score: 0 Far and Away
Score distribution:
3,904 movie reviews
  1. The acting throughout is exceptional, rooted in observed realism, but suggestive of more mythical agents at work through the lives of human beings.
  2. A thinly plotted, amateurishly acted, cartoonishly violent and hugely entertaining array of jaw-dropping stunts and corny slapstick.
    • 56 Metascore
    • 75 Critic Score
    In truth, you just can’t wait until the wicked Jolie returns to the screen. Whether a malevolent twinkle illuminates her beady eye or a heartbreaking tear rolls down her alabaster cheek, she is the film’s power.
  3. With young audiences definitely in mind, the film puts a fresh spin on the issues and struggles of the civil-rights movement.
  4. Bad history it may be, but Elizabeth is a movie that makes you want more, as it plays to the myth of history's great actress-monarch, a character who puts today's tinselly political heros and heroines (royal and not), to shame.
  5. The film lacks flow, unfolding in a rat-a-tat series of short, artfully lensed scenes -- individually nice but collectively jerky.
  6. Everything's Gone Green is the second feature directed by Paul Fox (The Dark Hours), who maintains an energetic, lighthearted tone throughout the film, even when the story loses focus at its not-quite-satisfying ending.
  7. The End of the Line's most topical hook is its exploration of bluefin tuna, which, as a sushi delicacy, is sometimes called the "most expensive meat on the planet."
  8. Love sometimes hurts, but love/hate is always pure anguish. That's the two-stroke engine powering I Killed My Mother ( J'ai tué ma mère), a coming-of-age tale as ferociously raw as its teller - the very young Xavier Dolan.
  9. Both Speedman and Tyler deliver solid, nuanced performances as a couple caught at the most fragile moment in their relationship.
  10. Sylvia the movie competently shows us how; but, as always, it's Sylvia the writer who brilliantly tells us why -- then, now and tomorrow, her foreboding words are her finest legacy.
  11. A lovely oddity.
  12. Barbara is intriguing because the script subtly plays off that expectation, not denying it so much as expanding it, showing us that the grey world can contain, and even embrace, contradictory colours.
  13. More illuminating than not.
  14. Smarting like hell, the artist and his art are at it again. Consequently, like most of Michael Haneke's films, The White Ribbon is profoundly disturbing, impeccably shot, superbly cast, allegorically ambitious and, yet, slightly disappointing – just enough to make you wonder if that salt-in-the-wounds theory is as dogmatic as the dogma he likes to condemn.
  15. An uncomfortably fascinating document of a man whose bipolar disorder and artistic ambitions are inextricably connected.
  16. 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.
  17. Of course, entire books have been written, and perused by disappointed women, about the male reluctance to put away their fantasized Biancas. In that sense, Lars and the Real Girl is real indeed. In every other, it's a sweet, bordering on saccharine, bagatelle.
  18. Taken strictly as a movie, though, Selma is an uneven yet generally skillful effort that has probably drawn more praise and criticism than it warrants.
  19. En route, despite some clumsy exposition and the reduction of heavyweights like Mary McCarthy and William Shawn to fifth-business caricatures, the film does manage one impressive intellectual achievement of its own: rescuing that “banality of evil” phrase from the banal cliché it’s become and, by providing the full and daring context, giving it real meaning again.
    • 63 Metascore
    • 75 Critic Score
    Perhaps it is inevitable as three foreign directors train their lenses on that unique island culture of the East that all three are propelled by fantasy or science fiction, and suggest more alienation from Tokyo than affection for the great city.
  20. Humpday is mostly foreplay. But isn't that usually the most fun anyway? It certainly is in this film.
  21. Yes, this is the fascinating stuff, a rare (in pop culture) look at the complex nature of the love-sex equation – when it's too direct, when it's too vague, when it breaks down completely.
  22. Morse, with his hulking frame, baby face and soft voice, has probably done too many of these villain roles for his own good. But how could you avoid casting him when he manages to present someone who's screamingly insane in the mildest, most pleasant way?
  23. This is a human-sized drama about people with contradictory motives, trying to help or use each other.
  24. The stylings of Martin Scorsese and Quentin Tarantino come to the Mideast, but more credibly grounded in a complex setting fraught with raw contemporary politics and ancient class tensions. It makes for a compelling movie but hardly a pretty picture.
    • 86 Metascore
    • 75 Critic Score
    In short, it's very much a charming kids' film, created by a master of animation.
  25. The picture makes too many concessions to the Hollywood judges, pulls too many punches. But at least it has real punches to pull, because there's honest sweat here too, and a full complement of those archetypes that lie at the popular heart of the genre.
  26. It may not be a pretty picture, but A Tale of Two Sisters is definitely a satisfying piece of less-is-more cinematic horror.
  27. Violent and sexy and funny and sad, Head-On is a big collision that doubles as a bizarre love story.

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