The Globe and Mail (Toronto)'s Scores

For 4,860 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Witches of Eastwick
Lowest review score: 0 Airheads
Score distribution:
4860 movie reviews
  1. Haneke is best known for "The Piano Teacher." His latest, Caché (or Hidden) is a quieter but equally provocative attack. It's less in your face, more in your head and under your skin.
  2. 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.
  3. The film is an attack on religious hypocrisy, mixing melodrama and black humour in a volatile blend.
  4. 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.
  5. 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)
  6. Age in Being 17 comes in awkward bursts, and yet the film moves sublimely. Director Téchiné, 73 years old, is wise beyond his years.
  7. 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.
  8. It could be a cautionary fable about the predatory hypocrisy of any patriarchy, of any community predominantly defined by social conservatism.
  9. As for the winner and new champion, it has to be Kuosmanen, who never met a boxing-film cliché he couldn’t discreetly avoid.
  10. Though Burton's version is faithful, the filter of his sensibility has turned it into another of his necrophilic creepshows.
  11. 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.
  12. 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.
  13. 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.
  14. For the first time in the series, Stallone did not write the script, yet director Ryan Coogler and his co-writer Aaron Covington aren’t exactly brimming over with fresh ideas: Worn thin with repetition, the sentimental old premise muffles suspense and dampens emotion.
  15. 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.
  16. Like similar English comedies, it also teeters on the mawkish.
  17. 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.
  18. An immersive, compact and unpolished documentary from the Kurdish-born, Oslo-based filmmaker Zaradasht Ahmed.
  19. In the film's finest moments, as a generous Iranian host explains traditional Farsi poetry, the animation and the themes mingle and explode in a riot of cross-cultural colour as the stringy Canadian cartoon meets gorgeously rendered illustrations – and personifications – of Persian traditions.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. The performances, the writing, the direction, Segel’s D.F.W. impression, everything is just fine. But The End of the Tour is disgraceful. It feels like it’s towing out the real Wallace’s ghost to perform some soppy parody of himself.
  26. 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.
  27. Yet, for all that's wrong here, one thing is wonderfully, blissfully right, and his name is Tom Hanks.
  28. At best, Leaving Las Vegas is pure alchemy -- it makes of flawed humanity a hymn, and of forlorn hope a beacon.
  29. Reeves keeps the action moving steadily, never letting the film’s 140 minutes feel even slightly bloated, and surrounds Caesar with a visually stunning, compassionately conceived group of side characters.

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