The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,826 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Tusk
Lowest review score: 0 The Adventures of Baron Munchausen
Score distribution:
3,826 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. Ultimately, Benigni's comic refinery merely transforms the banality of evil into a lesser sin -- the evil of banality.
  5. 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.
  6. Despite a formidable effort and occasional grace, there's something cowardly about Braveheart -- it's an aspiring giant with a diminutive soul.
  7. 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.
  8. 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.
  9. Pi
    Audacious and bursting with ideas, the paranoid little sci-fi independent film Pi marks an auspicious debut for New York writer Darren Aronofsky.
  10. More about Ali as media star and social figure, less about the quicksilver athlete.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. One of the more ingenious and fresh surprises of the summer.
  19. Visually the film is a knockout. I'm not sure this will matter to the young adult audience, but the film is philosophically confusing.
  20. 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.
  21. Part of the charm of Satin Rouge is that it avoids the obvious with humour and lightness.
  22. A horror movie based on history, offering some of the most spectacularly brutal, viscerally intense battle scenes ever brought to a Hollywood movie.
  23. Undoubtedly the rudest and possibly the most inspired comedy of the summer.
  24. Loses its momentum just when you'd expect the suspense to mount -- at the competition itself.
  25. 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.
  26. 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.
  27. 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.
  28. The Motown musicians today are in their 60s and 70s but they remain inspiringly colourful, funny in their stories and assured in their musicianship.
  29. Mamet's stylized dialogue, elaborate plot puzzles and the angry cleverness of his characterization makes for an invigorating, if not exactly likeable, mix.
  30. Too bad there's also a final 15 minutes that surely ranks among the worst endings an otherwise good movie has ever received.

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