The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,840 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 Crying Game
Lowest review score: 0 The Mod Squad
Score distribution:
3,840 movie reviews
  1. No doubt, there is an uncomfortable number of logos being marketed to kids in the The Lego Movie, along with the obvious one that’s in the title, but the film as a whole is very much in the spirit of Cloud Cuckooland: It’s a place where the use of X-Acto blades and Krazy Glue breaks the rules but almost everything else goes.
  2. Whether you appreciate Gloria as a portrait of a vital woman, muddling through life’s middle chapters, or as an allegory of Chilean resilience, the message is the same: Let’s face the music and dance.
  3. From the first stylized shot to the final comic resolution, Moonstruck is completely sui generis - hard to describe but easy to love.
  4. This is a rare adaptation where the script (by McGrath himself) heads straight for the novel's horrible essence, reproducing it non-verbally and in an even more concentrated form.
  5. The best thriller of 2003 was made in 1979.
  6. An unabashedly schlocky, expertly executed blend of jack-in-the-box jolts and humour.
  7. As for the implicit tragedy amidst the funny business, the swelling ranks of the unemployed, the movie has no solution but instead offers itself as implicit solace: Escape, ye wretches, into my clever humour and my nifty dialogue and my star's considerable charm.
    • 83 Metascore
    • 75 Critic Score
    The details are astounding. During "Sometimes You Can't Make It on Your Own," the camera is in so tight that you can see Bono's hand tremble around the mike as he belts out a long, sustained note.
  8. A too-perfect mirror of its creator, The Apostle's greatest strength doubles as a singular weakness -- in the end, it feels like an immaculate forgery.
  9. So much cinematic majesty perched precariously atop so little common sense. But, hell, maybe Quentin's right; relax, enjoy -- a castle with a shaky foundation is still quite a sight.
  10. No filmmaker, in any cinematic culture, has a better eye or ear for the working class than director Mike Leigh.
  11. 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.
  12. The film is an attack on religious hypocrisy, mixing melodrama and black humour in a volatile blend.
  13. 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.
  14. 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)
  15. 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.
  16. Though Burton's version is faithful, the filter of his sensibility has turned it into another of his necrophilic creepshows.
    • 83 Metascore
    • 75 Critic Score
    Throughout, Sachs is quietly observational – the film’s emotional power coming from its rich but unshowy performances.
  17. 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.
    • 83 Metascore
    • 63 Critic Score
    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.
  18. 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.
  19. Like similar English comedies, it also teeters on the mawkish.
  20. Each character in David Webb Peoples' dense, unexpectedly stately, non- violent script (the inevitable gore is employed sparingly) is treated with that same, somewhat distanced clarity.
  21. A beautiful, probing art documentary.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.

Top Trailers