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 12 Years a Slave
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
3,928 movie reviews
    • 82 Metascore
    • 75 Critic Score
    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.
  1. 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.
  2. Like similar English comedies, it also teeters on the mawkish.
    • 82 Metascore
    • 75 Critic Score
    This much we know: The photographer takes the picture. Less clear is the reverse process – what the picture takes back. And this, to a large and illuminating extent, is the subject of Wim Wenders’s The Salt of the Earth.
  3. 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.
  4. A beautiful, probing art documentary.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. At best, Leaving Las Vegas is pure alchemy -- it makes of flawed humanity a hymn, and of forlorn hope a beacon.
  12. Constant is the very thing The Constant Gardener is not. Attractive yet fickle, the movie beckons enticingly one moment and wanders off the next.
  13. 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)
  14. Mainly, though, the film's strength is reportorial, sensitively exploring a theme that has grown ever more prominent with the globalization of sport.
  15. 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.
  16. 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.
  17. 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.
  18. If the kids give the movie its momentum, its fascination comes from a more static source -- the father.
  19. A picture with pop's delicious energy yet none of its attendant risk, a flick that no one will love but everyone will like.
  20. 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)
  21. 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.
  22. Surprisingly touching and funny.
  23. 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.
  24. 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.
  25. 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)
  26. Yet, for all that's wrong here, one thing is wonderfully, blissfully right, and his name is Tom Hanks.

Top Trailers