The Globe and Mail (Toronto)'s Scores

For 4,469 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% 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 La La Land
Lowest review score: 0 Strange Wilderness
Score distribution:
4469 movie reviews
  1. Red Army ends with Fetisov back in Russia, as a politician. Despite the sometimes shabby way in which he was treated by an authoritarian hockey regime, he says he “never had more fun than playing with those five guys.” Once a comrade.
  2. The film is an attack on religious hypocrisy, mixing melodrama and black humour in a volatile blend.
  3. An absorbing and not-too-uncomfortable experience, so long as you remember there's a camera lens and a big distance between you and the film's violent subject.
  4. Clever and confident use of limited resources in an unfamiliar medium. Kenneth Branagh has made the right choice nine out of 10 times, and the tenth is easily forgiven because of the youthful ardor of that bright face and that bright talent. [10 Nov 1989]
    • The Globe and Mail (Toronto)
  5. Age in Being 17 comes in awkward bursts, and yet the film moves sublimely. Director Téchiné, 73 years old, is wise beyond his years.
  6. Spike Lee's voluminous "When the Levees Broke" proved a thorough indictment, a compilation of tragic and appalling facts encyclopedically catalogued. By contrast, Trouble the Water (on Oscar's short-list in the best doc category) has a more personal focus and, although just as damning, manages to strike a more hopeful chord.
  7. It could be a cautionary fable about the predatory hypocrisy of any patriarchy, of any community predominantly defined by social conservatism.
  8. As for the winner and new champion, it has to be Kuosmanen, who never met a boxing-film cliché he couldn’t discreetly avoid.
  9. Though Burton's version is faithful, the filter of his sensibility has turned it into another of his necrophilic creepshows.
  10. The film’s own unhurried pace might frustrate the popcorn crowd, but it is the blasé, blank-faced unconcern for expediency from judges, prosecutors and bailiffs that should prove much more infuriating.
  11. The film is so incessant on bolstering Cave’s repute and noble struggle with the art of songwriting that it can’t help but seem bloated and self-important. Sometimes seriousness should speak for itself.
  12. At best, the humour in Election is perceptive, nasty, pointed, and lets no one off its barbed hook, not even the audience. In other words, it's a lovely piece of satire, made all the more relevant by the setting.
  13. It's an exquisite, humanistic and subtly topical work of cinema art that manages to keep the intimate, revelatory sensibility of a one-man play intact while fleshing out the characters and creating a very realistic and richly detailed school community.
  14. Like similar English comedies, it also teeters on the mawkish.
  15. Each character in David Webb Peoples' dense, unexpectedly stately, non- violent script (the inevitable gore is employed sparingly) is treated with that same, somewhat distanced clarity.
  16. A beautiful, probing art documentary.
    • 82 Metascore
    • 75 Critic Score
    Muylaert’s is attuned to matters of social stratification and economic mobility, and the manner in which Brazil’s leisure class is propped up by the undervalued exertions of domestic labourers.
  17. 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.
  18. Shiver-making moments aside, in a important way 127 Hours suffers from the filmmaker's lack of nerve, a reluctance to let the audience taste Ralston's dread and the expectation of a slow, absurd death.
  19. The result is a whodunit so nicely crafted that you're tempted to forgive the Byzantine plot -- hell, you're even tempted to pretend you actually understand its twisting obscurities.
  20. Though something less than a masterpiece, The Illusionist is a rare animated film of fleeting charms rather than loud noises, aimed more at wistful adults than thrill-hungry kids.
  21. Happily, in his adaptation of the Terence Rattigan play, The Deep Blue Sea, Davies has found a setting close to his heart and a subject more nearly suited to his style.
  22. Surely the real story of Enron is that so many accountants, lawyers, bankers and politicians were willing to call a dog a duck in order to remain happy insiders in the world's biggest pyramid scheme.
  23. At best, Leaving Las Vegas is pure alchemy -- it makes of flawed humanity a hymn, and of forlorn hope a beacon.
  24. Constant is the very thing The Constant Gardener is not. Attractive yet fickle, the movie beckons enticingly one moment and wanders off the next.
  25. Short Term 12 is a triumph of modesty.
    • 82 Metascore
    • 75 Critic Score
    Parenthood is a charming, amusing piece of work. It doesn't say anything new - Howard clings as tightly to tradition as Norman Rockwell - but it says the old things with enough wit and eloquence to keep them going for another generation. [2 Aug 1989, p.C7]
    • The Globe and Mail (Toronto)
  26. Mainly, though, the film's strength is reportorial, sensitively exploring a theme that has grown ever more prominent with the globalization of sport.
  27. 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.
  28. The result is a genre picture that transcends the genre, that gleefully embraces four qualities alien to the bulk of its noisy brethren: (1) thematic texture; (2) kinetic grace; (3) visuals that toy with the mind even while dazzling the eye; and (3) performers who are permitted to act like something other than human wicks for the pyrotechnical bombast.

Top Trailers