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 Neil Young Trunk Show
Lowest review score: 0 Harlem Nights
Score distribution:
4441 movie reviews
  1. In truth, despite its honesty, this is a flawed little film, its low comedy never funny enough to justify its crudeness.
  2. In an irony, Godard’s certainly aware of (after all, he constructed it), Goodbye is noteworthy for being shot in 3-D, a calling card of the cookie-cutter Hollywood movies it couldn’t have less to do with.
  3. The Muppet charm, always more at home within the intimate frame of a TV set, is gone here.
  4. An uneven but intriguing piece of whimsy that veers from powerfully symbolic cinematography into self parody.
  5. Before it turns into a thriller, and goes badly awry, Red Lights paints a devastating little portrait of a marriage on the rocks.
  6. The narrative, cobbled together from various Pooh stories by an army of writers, is held together reasonably well by John Cleese's soothing narration.
  7. Bouncing about from one flawed movie to another, Steven Spielberg has lost his way of late, and Munich finds him more disoriented than ever.
  8. The emotional geometry is familiar enough to be credible yet odd enough to be creepy.
  9. Unlike "Microcosmos" (all insects) and the acclaimed nature doc "Winged Migration" (all birds), Genesis is bogged down by its intentions and too vast a "cast."
  10. Under better circumstances, Cooper might be said to have stolen the picture outright. But as it is, and compelling as he is, there's just nothing here to steal.
  11. It is a busy narrative machine that raises expectations of a tidy ending; instead Almodóvar offers an artfully mysterious conclusion that seems unearned by the movie that preceded it – except, of course, for that lonely stag.
  12. Rude, lewd and occasionally in the nude, The Hangover brings a collection of fresh faces to the familiar raucous male-bonding comedy.
  13. One of those crime flicks besotted with its own plot.
  14. It's a slacker flick, it's a relationship pic, it's a road movie all under the same hood.
  15. Gran Torino skids into the narrative ditch. By the time it jolts to an ending, followed by Clint rasping a tune to the closing credits, you're more likely to be rolling your eyes than dabbing them.
  16. It’s ripe to the point of bursting and, with a plot that tilts to melodrama, Davies flirts dangerously with cliché, creating an over-wrought period piece where every wheat field is bathed in golden sunlight and every childbirth is announced by chilling screams.
  17. Should be a brilliant picture, one last testament to the intertwined sensibilities of two brave artists. Should be, but isn't.
  18. Isn't really a dull film so much as an oddly quaint one that seems to find a comfortable perspective about drastic circumstances.
  19. 12
    Yes, Mikhalkov has set himself quite the agenda, but in the end the film is too much of a piece with its topic, intensely fascinating yet seriously flawed. The verdict? Guilty, with extenuating circumstances.
  20. The Good Girl isn't really the title of this movie at all. Instead, it's now widely known as The Movie That Proves Jennifer Can Act.
  21. Embracing such depths, Bukowski somehow made his art. Simulating them, Factotum just makes us queasy.
  22. Tropic Thunder is an assault in the guise of a comedy – watching it is like getting mugged by a clown.
  23. It is almost as if Gibson is daring his audience to turn away from his opera of barbarity – but perversely, his violence is the only compelling element of Hacksaw Ridge. Perhaps ironically for a war film, the rest of it is mostly a draw.
  24. Watching this, we should feel an immense amount, but don't, and somehow, decades after this horrible event, that void only seems to compound the tragedy.
  25. Plays precariously close to an unfunny sociopathic case study.
  26. Bronson is one of those “based on a true story” dramatizations where the theatrically staged drama only gets in the way of the more interesting truth.
  27. Less an adaptation of its source material than a therapeutic response to it.
  28. This is an adaptation that must have been hard to screw up, yet screwed up it has been. If the movie is far from dreadful, it's even further from the searing experience it could have been.
  29. This is a film that dearly wants to be important, that wants to do for Holland what Irene Nemirovsky's "Suite Française" does for France - examine the German occupation through a prism of painful honesty. Yet the lofty ambition comes dressed in cheap attire; Verhoeven can't seem to stop himself from shopping downmarket.
  30. Keen to be both really romantic and romantically real, the movie is neither, and falls between the cracks of its twin-ambitions. The result? Call it l'amour phooey.

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