The Globe and Mail (Toronto)'s Scores

For 3,936 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Player
Lowest review score: 0 Far and Away
Score distribution:
3,936 movie reviews
  1. The theme could be trite or maudlin in lesser hands. Here, through the Dardennes' judiciously stylized way of telling the story, there is a real exhilaration in the film's ability to capture Igor's emotional dilemma. [6 Mar. 1998, p.C8]
    • The Globe and Mail (Toronto)
  2. Yet, for all that's wrong here, one thing is wonderfully, blissfully right, and his name is Tom Hanks.
  3. Instead of the typical John Grisham-style connect-the-dots legal thriller, we get a film that's idiosyncratic, with a time-shifting structure, a surfeit of subplots and characters.
  4. The movie itself seems more familiar than fascinating, more innocuous than inflammatory, and, at 2½ hours, more tedious than anything else.
  5. By the end of the The Spectacular Now, you’re not quite ready to let these characters go. Instead, like director François Truffaut did with his character Antoine Doinel in a series of films, you want to check back with them every few years, to see how how they’re getting on.
  6. Let the Right One In is a children's film, but you wouldn't want your child to see it. It's a horror film, but the gruesome splatter is the least of its scares. And it's a love story, but the prepubescent kind where sex is a distant idea and loneliness a shared reality. A wicked trick, a cinematic treat, this is some Halloween offering.
  7. Ultimately, Certified Copy – with its unresolved loose ends – is a puzzle box without a key.
  8. Relentless, thorough and devastating.
  9. Once you overlook the laborious contrivance of Jerry's background, Down and Out in Beverly Hills is a sharp, sweet comedy of affluent manners. [31 Jan 1986]
    • The Globe and Mail (Toronto)
  10. A father-son academic rivalry provides fodder for this caustic comedy set in the Talmud Department of the Hebrew University of Jerusalem.
    • 82 Metascore
    • 75 Critic Score
    Marley the film wonderfully explains its subject's music. As for Macdonald's message, I'm just not sure.
  11. Smarting like hell, the artist and his art are at it again. Consequently, like most of Michael Haneke's films, The White Ribbon is profoundly disturbing, impeccably shot, superbly cast, allegorically ambitious and, yet, slightly disappointing – just enough to make you wonder if that salt-in-the-wounds theory is as dogmatic as the dogma he likes to condemn.
  12. It's also mysterious in fresh ways. Like Hillary, Yates and Simpson climbed the mountain because it was there -- but what strange deity sent down a Boney M song to help Joe Simpson get home?
  13. Not an extraordinary portrait, but it does portray an extraordinary man.
  14. Intriguing, disturbing, uplifting evocation. In fact, to watch this film is to engage in participatory art -- for better and for worse, through sickness and in health, we're drawn deeply in.
  15. Le Havre, offers the director's usual humour, pitch-perfect acting and compassionate message, with a Gallic twist that should win new converts.
  16. In recounting this conflicted tale, director Rachid Bouchareb displays some valour of his own, resisting what must have been a strong temptation to deal in aggrieved agitprop, and instead, quietly but powerfully, confining his attentions to a small group of indigenous soldiers.
  17. My Summer of Love may sound like the title of a hot teen flick, but it is a truly refreshing grown-up big-screen film, a rare gem in this summer of duds.
  18. Hackman is unexpectedly hilarious. With protruding top teeth and a professorial beard, he's a motormouth, badgering and abusing one minute, wheedling and fawning the next.
  19. Offers you the ostensible bargain of two movies in one -- a character study at the outset and the crime caper that follows. The first picture is intriguing, the second stinks.
  20. Oh, it's The Return, all right. To any masochist who's been pining for all those clichéd tropes associated with Russian cinema -- ponderous pacing and arcane symbolism shot through a lens darkly -- this will seem a welcome blast from the past.
  21. Mixing bravura filmmaking with flat clichés in about equal amounts, The Dark Knight is all about dualism. Appropriately, the movie's half-inspired, half-frustrating.
    • 82 Metascore
    • 75 Critic Score
    It's a very sad film to watch.
    • 82 Metascore
    • 88 Critic Score
    These are simply incredible performances, captured stunningly on film.
  22. The film's greatest achievement is that it allows us to know Ray.
    • 82 Metascore
    • 75 Critic Score
    Throughout, Sachs is quietly observational – the film’s emotional power coming from its rich but unshowy performances.
  23. Up and down, Late Marriage is definitely rocky, but there's never a point where we lose interest and want out -- as relationships go, that's not bad.
    • 82 Metascore
    • 88 Critic Score
    Animal House is the sort of film you hate yourself for laughing at. It is so gross and tasteless you feel you should be disgusted but it's hard to be offended by something that is so sidesplittingly funny. [05 Aug 1978]
    • The Globe and Mail (Toronto)
  24. While the story, shorn of its supernatural elements, is mired in abuse and tragedy, its effect is sensual and superficial.
  25. If the word masterpiece has any use these days, it must apply to the film Once Upon a Time in Anatolia, a mature, philosophically resonant work from Turkey's leading director, 53-year-old Nuri Bilge Ceylan (Climates, Distance, Three Monkeys).

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