The Globe and Mail (Toronto)'s Scores

For 3,928 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Police, Adjective
Lowest review score: 0 Another 48 Hrs.
Score distribution:
3,928 movie reviews
  1. A little gem of social realism that makes up in polish what it lacks in consistency.
  2. But the stuff looks like what it is -- trite imagery grafted over the narrative barrens, like a bad weave on a balding pate.
  3. What it doesn't have is the resonance of Cronenberg's "A History of Violence," a film that exploited the same genre even while transcending its limitations. Eastern Promises delivers, but not on that scale.
  4. The reality measures up to the rep.
    • The Globe and Mail (Toronto)
  5. From its quiet opening sequence to its silent final shot, everything about A History of Violence is deceptive, and deceptively simple.
  6. The voice that jerks out from Levy's throat suggests Lazarus waking from the dead.
  7. Like a skill player who just can't score, The Damned United is all dazzle and no finish and, ultimately, damned frustrating.
  8. The film's forced quirkiness constantly threatens to derail the entire enterprise, making this another minor American indie exercise in family eccentricity. But it keeps being put back on track by the apparently effortless performance of a great young actress.
    • 81 Metascore
    • 75 Critic Score
    Elena is at once a portrait, an autobiography and a history of family trauma.
  9. The wonder is that the film balances its many genres, from the thorns of murder to the bloom of romance to the thickets of politics, with such easy grace.
  10. Two superb actors etch an unflinching portrait of a young marriage doomed never to grow old.
  11. British humour at its eclectic best, a deliciously heady mix of dry wit and ribald farce.
  12. In this journey, [Crowe] wears the uniform, the accent and the derring-do with consummate panache. Have him strike a muscular pose on the ship's prow, which Weir does more than once, and the manly sight puts that wussy DiCaprio to titanic shame.
    • 81 Metascore
    • 75 Critic Score
    Top Five finds Rock in an elevated form, at 49. Things change, sometimes for the better.
  13. There's no redemption here. Indeed, if anything is redemptive about Katyn , it's the fact of the film itself.
  14. The combination of Hardy’s almost androgynous features and powerful physique evokes a young Marlon Brando, and while it’s premature to say he has a talent to match, he has emerged as one of the screen’s most versatile and compelling presences. Locke is what you might call his sedentary tour de force.
  15. The movie's main attraction isn't hard to find. It's essentially a character study, but one where the nature of the study is as unique as the stature of the character.
  16. The triumph of Foxcatcher is not in the subject but in its art. The clear-eyed compassion and moral intelligence of Miller’s film brings sense to the senseless, and finds the human pulse behind the tabloid shock. It’s not a movie to make you feel good, but, at moments, it reminds you what goodness is.
  17. Ultimately, the result is identical to Mills's debut effort in "Thumbsucker." Once again, clever insight vies with misty-eyed sentimentality, honesty with artifice, real humour with bogus gravity, the genuinely affecting with the merely quirky. But "Thumbsucker" was at least a promising start; Beginners is just a frustrating continuation.
  18. Mainly, though, it's the exquisite restraint - both of Cornish's performance and Campion's direction - that gives the film its power.
    • 81 Metascore
    • 88 Critic Score
    A refreshing take on vampire lore.
  19. Fortunately, there's always the fascination of watching actor Toni Servillo, who does a brilliant job of playing Andreotti (known as Beelzebub) as a kind of devil with a clown's exterior.
  20. A half-century ago, "kitchen sink realism" began its harsh existence on the British stage and then migrated to the screen where, over the years, the genre has taken up permanent residence, maturing into a gritty art...Now add Andrea Arnold to the directors' list and Fish Tank to the kitchen. It's classic low-rent realism – you can almost smell the grease on the unwashed dishes.
  21. No
    Take the backroom political machinations of "Lincoln," add in the showbiz sleight of hand of "Argo," and you’ll get something like No, a cunning and richly enjoyable combination of high-stakes drama and media satire.
  22. A twofold story of heroic achievements and personal failings.
  23. With Hot Fuzz, you'll just have to settle for semi-hilarity.
  24. A simultaneously realistic and absurdist examination of police work.
  25. Tarantino's approach is so enamoured of the exploitation cinema he emulates, there is a serious risk that noble intentions get smothered in juvenile comedy and cinematic grandstanding.
  26. Skyfall is one of the best Bonds in the 50-year history of moviedom's most successful franchise.
  27. It's not the subject matter itself that's offensive -- pedophilia is as worthy a topic of investigation as any other. Instead, it's the subject's non-treatment -- we don't learn a thing that rings true.

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