The Globe and Mail (Toronto)'s Scores

For 4,441 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 We Were Here
Lowest review score: 0 Alone in the Dark
Score distribution:
4441 movie reviews
  1. The winner of Cannes’s top prize, the Palme d’Or, and the international critics prize at the same festival, the film was hailed as a breakthrough, a graphic and emotional love story, the first same-sex feature ever to win the Palme, in the week after France legalized same-sex marriage.
  2. It's an unpredictable, mesmerizing journey nearly every shady second of the way.
  3. Disclosure is a well-acted, slickly directed shell of a picture. The veneer is so polished that you look on with something approaching genuine satisfaction, and only after the final credits roll do you begin to feel the void.
    • The Globe and Mail (Toronto)
  4. Whiplash is an intense, unmelodious, highly amped and probably unrealistic drama set in the fictionalized Schaefer Conservatory in New York.
  5. With Monsters, Edwards transcends the special-effects auteur label, creating a memorable sci-fi story in which the hero and heroine are true equals in the adventure. How's that for an alien concept?
  6. The Doors is excessive, unsubtle, emotionally brutal and stylistically sadistic, but that's exactly right for the dark side of the sixties Morrison and his band embodied. [01 Mar 1991]
    • The Globe and Mail (Toronto)
  7. Relentlessly dark but expertly rendered, it shares its cinematographer and quality of aggrieved compassion with another recent Romanian art house hit, "The Death of Mr. Lazarescu."
  8. A film that transforms a popular work of teen fiction not just by faithfully exploring its themes but, more important, by proving those themes have a very grown-up resonance.
  9. Like the stationary figures it portrays, Kicking And Screaming is alive at the edges; it comes with a vibrant border of trenchant asides, tossed-off remarks that blend the solace of protective irony with the sterner stuff of hard truth.
    • 67 Metascore
    • 88 Critic Score
    Like a Keret story, Jellyfish is economical – a mere 78 minutes – but it packs into its taut, intersecting storylines a charming melancholy and a surprisingly rich depth.
  10. Polished, intelligent, impeccably well-bred, it's an upscale kids' flick designed to appease the fears of discriminating parents: If those stubborn tykes refuse to crack a book, then this is the next best thing - Young People's Masterpiece Theatre. [11 Aug 1995, p.C2]
    • The Globe and Mail (Toronto)
    • 73 Metascore
    • 88 Critic Score
    Video-game developers: Geeks, nerds, socially adrift obsessives. Indie Game thankfully gets past such base introductions in a flash and graduates to far more engrossing levels – levels which open up into the real worlds of the best independent game developers working their craft.
  11. The Love Witch handily achieves its goals, employing Biller’s strong sense of retro style and Robinson’s wink-wink performance to deliver a subversive homage to a host of out-of-fashion genres.
    • 82 Metascore
    • 88 Critic Score
    Is Neruda a cinematic play, a poem, a biopic? In this near-perfect homage to a literary giant, it’s all open to interpretation.
  12. The Usual Suspects filled me with a highly unusual urge - to be a true "reviewer," to rewind the projector and figure out this humdinger once and for all.
    • 56 Metascore
    • 88 Critic Score
    The film belongs to Whitman, who, fresh off a five-year stint on the now-defunct TV series "Parenthood," infuses her first big-screen leading role with a unique charm. If Whitman looks familiar, but you can’t quite place her, that’s about right.
  13. Besides the movie’s weight in our contemporary, post-Ferguson historical moment, Straight Outta Compton may also be the funniest, most exhilarating and flat-out best Hollywood movie of the summer.
  14. The intelligence and wit of this glass-slipper heart-of-gold fantasy are shocking.
  15. A French rat as a master chef? Absurd. But a brilliant French chef with an American accent? C'est grotesque!
  16. The surprise lies in Linklater's ability to breathe so much fresh life into a tired formula...This is a picture that recollects not merely a period in time but a state of mind.
  17. Age in Being 17 comes in awkward bursts, and yet the film moves sublimely. Director Téchiné, 73 years old, is wise beyond his years.
  18. Only a master director could make such a beautifully flawed film.
  19. The narrative meanders on occasion, the conceit can seem repetitious, the editing is loose. Nevertheless, buoyed by the naturalism of its exclusively young cast, the picture effectively gets into your head and under your skin.
  20. 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.
    • 68 Metascore
    • 75 Critic Score
    Danny Glover delivers the most subtle and controlled performance of his life, and Freeman proves himself a sensitive and talented filmmaker. [24 Sept 1993]
    • The Globe and Mail (Toronto)
  21. The result is an intriguing hybrid, mixing a Japanese reverence for nature (a raindrop shimmering on a leaf is a visual haiku) with quaint Victorian architecture and a story featuring contemporary, Caucasian-looking Japanese characters speaking in American accents. Somehow, it all works.
  22. A taut, gorgeously filmed and enjoyably wicked cinematic treat.
  23. At the end of Courage Under Fire, you feel torn between admiration and annoyance with the filmmakers.
  24. An anthropological marvel and an animal-drive movie that belongs beside the classics of the genre - Red River and Lonesome Dove.
  25. A laugh and a half, a genial crowd-pleaser.

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