The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,800 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: 59
Highest review score: 100 Monsieur Lazhar
Lowest review score: 0 Employee of the Month
Score distribution:
3,800 movie reviews
  1. Mainly, though, the film's strength is reportorial, sensitively exploring a theme that has grown ever more prominent with the globalization of sport.
  2. 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.
  3. 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.
  4. 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.
  5. If the kids give the movie its momentum, its fascination comes from a more static source -- the father.
  6. A picture with pop's delicious energy yet none of its attendant risk, a flick that no one will love but everyone will like.
  7. Never before has Allen been able to integrate comedy and pathos as deftly as he does in Manhattan. [28 Apr 1979, p. 17]
    • The Globe and Mail (Toronto)
  8. Hunger -- the disturbing, provocative, brilliant feature debut from British director Steve McQueen -- does for modern film what Caravaggio did to Renaissance painting.
    • 82 Metascore
    • 63 Critic Score
    Despite a number of plot twists, In the Family is more about its constant blanks and dead time, its silence and inert camerawork, which require a viewer to fill in the gaps with one's own perceptions of what's happening.
  9. Surprisingly touching and funny.
  10. Ambitious and brooding, Coogan has the darker nature; lighthearted and affable, Brydon is all sunny-side up. Happily, both possess a devilishly quick wit and the need to go beyond self-impersonation to the more celebrated variety.
  11. From my doddering perspective - rheumy with a view - Volume 3 puts plenty of cinema into the picture but leeches all the charm out of the tale.
  12. 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)
  13. Yet, for all that's wrong here, one thing is wonderfully, blissfully right, and his name is Tom Hanks.
  14. 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.
  15. The movie itself seems more familiar than fascinating, more innocuous than inflammatory, and, at 2½ hours, more tedious than anything else.
  16. 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.
  17. 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.
  18. Ultimately, Certified Copy – with its unresolved loose ends – is a puzzle box without a key.
  19. Relentless, thorough and devastating.
  20. 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)
  21. 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.
  22. 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.
  23. 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?
  24. Not an extraordinary portrait, but it does portray an extraordinary man.
  25. 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.
  26. Le Havre, offers the director's usual humour, pitch-perfect acting and compassionate message, with a Gallic twist that should win new converts.
  27. 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.
  28. 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.

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