The Globe and Mail (Toronto)'s Scores

For 5,142 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 High-Rise
Lowest review score: 0 Employee of the Month
Score distribution:
5142 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. Like similar English comedies, it also teeters on the mawkish.
  6. 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.
  7. An immersive, compact and unpolished documentary from the Kurdish-born, Oslo-based filmmaker Zaradasht Ahmed.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. Yet, for all that's wrong here, one thing is wonderfully, blissfully right, and his name is Tom Hanks.
  17. At best, Leaving Las Vegas is pure alchemy -- it makes of flawed humanity a hymn, and of forlorn hope a beacon.
  18. 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.
  19. Constant is the very thing The Constant Gardener is not. Attractive yet fickle, the movie beckons enticingly one moment and wanders off the next.
  20. 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)
    • 82 Metascore
    • 50 Critic Score
    Adds more cosmic cliff-hangers than it resolves, and it's not as satisfying as the original. A star war can be an exhausting bit of business, especially when, in the end, it turns out to be something of a cheat.
  21. Mainly, though, the film's strength is reportorial, sensitively exploring a theme that has grown ever more prominent with the globalization of sport.
  22. 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.
  23. 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.
  24. The Lobster is a brilliant piece of satire, but largely fails in an attempt to build its wicked wit into a more conventional romance.
  25. This is Austen as chick-lit, not too deep, but with some integrity and the worthy goal of reaching a younger audience by offering a starch-free version of the story.
  26. If the kids give the movie its momentum, its fascination comes from a more static source -- the father.
  27. Admittedly, near the end, the picture loses some of its energy and compelling ambiguity (about a half-star's worth, I'd say). Still, by then, the big gains have been made. At its best, The Nightmare Before Christmas occupies the imaginative ground held by the likes of White and Dahl and Seuss - that lovely place where, for shining moments, parents and children can travel on the same passport and smile for the same reasons. [22 Oct 1993]
    • The Globe and Mail (Toronto)

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