The Globe and Mail (Toronto)'s Scores

For 4,383 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 Oceans
Lowest review score: 0 Dead Man on Campus
Score distribution:
4383 movie reviews
    • 84 Metascore
    • 63 Critic Score
    The characters feel underdeveloped, to the point where it’s sometimes difficult to remain invested in their triumphs and failures.
  1. Iraq in Fragments already stands up as a classic war documentary, in its unusual poetic form and by its extraordinary access to the lives of ordinary Iraqis.
    • 84 Metascore
    • 75 Critic Score
    Hopefully, after seeing this film, interest in places like Sea World will begin to decline.
    • 84 Metascore
    • 75 Critic Score
    What's so fresh about Mutual Appreciation is how acutely it represents the social rituals of today's post-collegiate types.
  2. A 75-minute tour de force that's often fascinating, sometimes frustrating, but ultimately rewarding. So be patient -- the payoff will come.
  3. Bridges's big performance takes place in the context of a relatively minor movie.
  4. It’s hard to imagine another filmmaker who could invest the lives of straight, middle-class, norm-y, aggressively bro-y, immaculately groomed college sports jocks with a sense of vital anarchy and resounding humanity.
  5. De Palma is a true visionary, even if you might not quite agree with what that vision is. Either way, a trip through his wild and hugely influential filmography is mandatory for any film fan, and that’s just what directors Noah Baumbach and Jake Paltrow offer in their new documentary.
  6. 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)
  7. Duelling roles are an actor's dream, and Cage takes full advantage. He and that face of his -- hang-dog homely one minute, vibrantly macho the next -- are perfectly cast. So is Streep as the sophisticated Manhattanite drawn into a steamy realm of Southern discomfort.
  8. Avatar is a king's ransom fairly well spent, not least because Cameron's invitation into his superbly crafted universe comes with an unexpected price: He makes it easy to gaze fondly on all this movie magic, but only in exchange for a hard look at ourselves.
  9. A little like speeding through the digestive tract of some voracious beast. There's bite, acid, digestive churning and an expulsive conclusion. If the metaphor seems unsavoury, well, wait until you see the film.
  10. The tale may be Dahl's, but there's a whole new wag to it – this is decidedly, weirdly and, at best, wonderfully a Wes Anderson movie.
  11. Riveting and courageous documentary.
  12. The best satire implicates the audience; this stuff keeps our sense of superiority smugly intact.
  13. Obviously, this is no easy sell, but give writer-director Siddiq Barmak full credit for portraying his country's social catastrophe with restraint, concision and some real beauty.
    • 83 Metascore
    • 75 Critic Score
    This much we know: The photographer takes the picture. Less clear is the reverse process – what the picture takes back. And this, to a large and illuminating extent, is the subject of Wim Wenders’s The Salt of the Earth.
  14. For all the undeniable merits, it somehow feels manufactured, and thus, to a degree, calculated - the product not of a collective imagination taking esthetic chances, but of an imaginative collective putting the rivets into a well-wrought plan that can't go awry.
  15. An efficient, cold-blooded sci-fi splatter movie that never makes the mistake of forgetting that on some level it is deeply ridiculous.
  16. A grownup departure from the teen-romance norm -- it speaks nothing about passion and volumes about trust.
  17. '71
    Republicans or loyalists, Catholics or Protestants – this film is not about political or religious trenches. People died, but it’s more than the bombs, bullets and bodies. The more fascinating damage was done to psyches and souls, and Demange, with ’71, comes for yours.
    • 83 Metascore
    • 63 Critic Score
    As more than one orca expert points out in the film, when you take a creature born to roam thousands of miles of open water and stick it in a pool to do tricks, there’s going to be some behavioural blowback. In Tilikum’s case, it’s actually described as a form of induced “psychosis.”
  18. Disturbing and taut, Eggers’s direction is almost without fault. His only mistake lies in the film’s final 30 seconds, where all the implied horror of the family’s plight becomes just a shade too explicit.
  19. Ghoulishness and innocence walk hand-in-hand in Tim Burton's Corpse Bride, a movie that digs into Hollywood's past to resurrect the antique art of stop-motion animation and create a fabulous bauble of a movie.
  20. In art there are no rules, just stuff that works. And for the second film in a row, Marsh has created a movie we can't keep our eyes off.
  21. 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.
  22. The work is more muted than Miyazaki’s more fantastical films, but visually complex and gorgeous, from the rustic mountain scenes to the urban scenes and soaring aerial views.
  23. An impressionistic work that is perfectly in tune with its subject’s hallucinatory music.
  24. It comes eerily close to duplicating the experience of reading while, at the same time, remaining very much a motion picture. That's a rare, perhaps even unprecedented, achievement.
  25. Raimi doesn't make the mistake of over-thinking the flimsy psychology of the genre. All this conflicted-hero stuff isn't meant to be profound; instead, it's there for the same reason as everything else -- to give the action (the interior action in this case) a healthy shot of pop energy.

Top Trailers