The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,826 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Moolaadé
Lowest review score: 0 Twin Peaks: Fire Walk with Me
Score distribution:
3,826 movie reviews
  1. The film, like its subject, is more adroit with pictures than with words.
  2. The film manages the extraordinary feat of forcing us to empathize simultaneously with both the potential victim and the potential villain.
  3. The comic spirit in this type of picture is wonderfully democratic, and so is the result.
  4. It's the small, smelly details that elevate this Indian-fusion retelling of Jane Austen's classic novel from trifle to bona-fide delight.
  5. An entertaining takeoff and a high-altitude ride eventually runs into some bumpy weather and a clumsy landing in Mike Newell's new comedy.
  6. Everything you've come to expect, and cherish, in a Mike Leigh movie.
  7. Rohmer doesn't attempt to create any skepticism about Grace's perspective on her experiences; we are shown them as she saw them, and seeing is the real pleasure of The Lady and the Duke.
  8. Happy Times may be the last of the "little" films from this remarkable director for some time.
  9. Surprisingly entertaining.
  10. A beguiling, slow-moving parable.
  11. It's a good film. But its exotic allure may lead some to mistake it for a great one.
  12. Although there are definite lags here, those "glittering" set-pieces are funny enough (at least one is hilarious) to stave off any prolonged yawns.
  13. The film is a vertiginous experience of hanging 350 kilometres above the Earth.
  14. This is a formula film with panache.
  15. With its intricate design, sly humour and timely theme, Travellers and Magicians is a lot more than just a travelogue.
  16. One of this enlightened B-movie's many pleasures is French director Jean-François Richet's handling of atmosphere and setting. Shot almost entirely at night in a blinding snowstorm, the crime drama is an intriguing remodelling of a classic film noir.
  17. Violent and sexy and funny and sad, Head-On is a big collision that doubles as a bizarre love story.
  18. At the end of Courage Under Fire, you feel torn between admiration and annoyance with the filmmakers.
  19. The climax also comes with a nifty little kicker.
  20. A cornball charmer of a film with some beautiful birds and homespun wisdom.
  21. Actress Helen Buday is coolly persuasive in the seesaw role of an unbalanced housewife who jerks from despair to anger.
  22. Like the blues, you feel it first, and think of the meaning later.
  23. Not everything here is that vivid or uncluttered. Sometimes, the film betrays the circumstances of its making, shot hastily on location in Iraq after the fall of Saddam just as the extended conflict was beginning.
  24. If you've got six hours to invest watching superior television in a movie theatre, then spend the time wisely with The Best of Youth.
  25. Very well crafted and superbly acted. Whatever you may think of the idea, its execution is admirable.
  26. Sure, it's a bit mechanical, but what did you expect? The important thing is that the characters and jokes don't prevent you from grooving on the pleasures of the moving parts.
  27. The narrative here may be strictly nuts and bolts, but as an achievement in graphic design, Steamboy is first class.
  28. A sprawling personal journey, filled with an array of fascinating characters, through the world of wine.
  29. We leave this movie hoping to see Miller and Lewis together again soon.
  30. This is a movie about draining, tenderizing and chopping up the audience emotionally.
  31. Sin City gives sin a great name -- it's never been more plentiful or looked so gorgeous.
  32. A celebration of Hong Kong action cinema that mocks gravity, both emotional and physical.
  33. An acquired taste that you may not acquire. I did, but it took me a while.
  34. Certainly a bizarre kind of virtuoso filmmaking, but it does not feel precocious or burdened with too many ideas.
  35. Young and bold and bristling with talent, Argentine director Lucrecia Martel has continued right where she left off in her feature debut.
  36. Unlike Todd Solondz's "Happiness," Mysterious Skin is not an abuse movie that seeks to offend or upset.
  37. The considerable charm of Mad Hot Ballroom can be traced directly to its choice of subjects. They happen to be 11-year old kids, and the lens loves every precious one of them.
  38. For such a mush-ball teen movie, The Sisterhood of the Traveling Pants carries a welcome amount of grown-up emotional truth.
  39. Alas, around about the third act, the idea grows tired and the whole thing gets derailed. Too bad, because it's a good ride until it isn't.
  40. With its bold screen-filling imagery, this is definitely a movie to be relished on the big screen.
  41. Will make you glad to be living on the same planet as Miranda July.
    • 71 Metascore
    • 75 Critic Score
    Land of the Dead is a horror flick, but not a screamy one -- the booming soundtrack pumps up the drama, and the gore induces squirms, but zombies more titillate than anything.
  42. The Clowns and the Krumpers have a rivalry that parallels the Bloods and the Crips battle for the neighbourhood, but fought out in moves, not bullets.
  43. This is B-movie material all the way, yet it's not only watchable, it's engrossing. That's because the material is in the hands of an A-talent director, who knows, as few of his contemporaries do, how to manipulate the plastic qualities of a film: the lighting, editing, composition, camera movement and production values.
  44. Reportedly, after seeing the film, rapper Eminen is anxious to play a wheelchair athlete in a coming movie.
  45. Burton's movie is not only more faithful, complex and better cast, it has an essential ingredient: squirrels.
    • 62 Metascore
    • 75 Critic Score
    An engaging and surprisingly sharp allegory about high-school hierarchies and adolescent growing pains.
  46. The structure of the film mirrors the changes in the joke which in turn reflect the moral of the story -- hey, it's all a matter of perspective.
  47. Only a master director could make such a beautifully flawed film.
  48. The documentary My Date with Drew is "Don Quixote" meets "Bowfinger" meets "Swingers" for the reality-TV generation.
  49. As confusing, horrific and unsettling as a nightmare can be, at least you wake up and the memory fades. Darwin's Nightmare, tragically, is not a dream, but rather a haunting, beautifully made reality check well worth waking up to.
  50. Breakdown is a taut little thriller, the kind of well-crafted yarn that sets itself attainable goals and then meets them.
    • 73 Metascore
    • 75 Critic Score
    While "Wedding Crashers" ultimately succumbs to endorsing the mushy romantic clichés that it spends the rest of the time ridiculing, The 40-Year-Old Virgin offers a wiser take on the anxieties, negotiations and expectations that surround love and sex, particularly for people who've been burned before.
  51. Sitting through Red Eye is like watching a master carpenter at work on a custom bookcase. No one would call the result art, but you're sure bound to admire the sheer craft of the thing, the clean lines and seamless joints and meticulous attention to detail.
    • 56 Metascore
    • 75 Critic Score
    Bold, intelligent and provocative.
  52. But it is bright, smart, sometimes wickedly funny, and crisply performed to the point where the acting seems richer than the script.
  53. In a sometimes misguided narrative, their scenes together are right on track -- they add lightness, even a shimmering hint of humour, to a symbol-laden drama. Theirs is a unique romance that has a sparrow's frail beauty -- it beats with a trembling, fluttering heart.
  54. Stockwell takes an especially leaden screenplay, floats the dull thing up from the depths of mediocrity, and makes it cinematically buoyant. Within limits, that is.
  55. After witnessing the wearying parliamentary debates among good and bad senators in recent Star Wars episodes, it's a pleasure to watch a sci-fi movie where more than just the spaceships move quickly.
  56. Good Night, and Good Luck may be simplified history, but it's almost consistently well-crafted.
  57. Ushpizin takes us to a fascinating place, and hands out the sort of brochure that tourists always need but seldom get -- the charming kind, fun to ponder and rewarding to browse.
  58. The movie is pretty damned funny in its insubstantial, gratuitously violent, gratuitously everything way.
  59. Well, the movie suffers slightly from that tendency -- the portrait shows definite signs of airbrushing. But it's rendered with enough intelligence, and performed with sufficient grace, to offer us an occasionally compelling, curiously upbeat look behind the lacquered image and into the complicated self.
  60. Eraser may lack the chameleon wizardry of the the "Terminator" duo, or the imperious mechanics of "True Lies", but the bang-for-the-buck ratio is high enough to appease even the thinnest wallet.
    • 81 Metascore
    • 75 Critic Score
    Ballets Russes should find a wider audience beyond dance aficionados. Like all good documentaries, the human element is the glory of Ballets Russes.
  61. Zathura involves a lot of yelling, a lot of explosions and a lot of flying objects -- but what else would you expect from a movie that is, honestly for a change, intended for 10-year-old boys?
  62. Jordan remains faithful to the looney sensibility of a hero, who is hard to take, but in his refusal to acquiesce to the social humdrum, is like a saint, or at least an artist.
  63. That may be your lump of coal, but it seems a precious gift to me.
  64. Reserved yet still suspenseful and hugely ambitious, Syriana sets out to prove what many have come to suspect -- that oil money is the root of all contemporary evil.
    • 36 Metascore
    • 75 Critic Score
    It's all so geekily gorgeous, it hardly matters that the narrative lapses in and out of incoherence and the dialogue is functional at best.
  65. What a fine, tender, delicate, funny, gender-bending-and-rebending performance this is.
  66. For those who like their horror served straight up with no ironic chaser, The Descent is a tasty cup of torment.
  67. Ledger proves what we've suspected all along -- this is his picture, and he steals it brilliantly.
  68. What a strange and strangely compelling movie this is.
  69. The movie is unexpectedly disciplined and enjoyable.
  70. The look is fine, the effects are special, the cast is solid, and Jordan (in company with Rice) makes a commendable effort to add a cerebral dimension to a visceral genre.
  71. In keeping with that home-team tradition, The Promise lives up to the title --it really delivers the eye-popping goods.
  72. At first startling, even disengaging, that strange style eventually dovetails with the awful substance.
    • 60 Metascore
    • 75 Critic Score
    As directed by Renny Harlin (the director of Die Hard 2), Cliffhanger passes the principal tests of an action movie - it has truly awe-inspiring stunts and special effects and many of its suspense sequences will leave you with your heart in your mouth.
  73. The strength of this documentary lies in its balance, or at least the careful appearance of balance.
    • 59 Metascore
    • 75 Critic Score
    It's a brilliant opening, but the difficulty with the familiar plot formula wherein a special stranger wins over a difficult household is that once the spell has been cast, all the plot tension, and much of the movie magic, dissipates.
  74. The fluffmeister here is writer-director Ol Parker, and say this for young Ol: This may be his feature debut, but the guy is one hell of a smooth engineer.
  75. De Bont knows how to edit a pulse-pounding sequence, he knows how to keep the screen white-hot, and he sure knows how to blow things up real good. What he doesn't know is how to slow down - this premise is perfect for him.
    • 45 Metascore
    • 75 Critic Score
    Overall, it's a satisfying example of the classic thriller, with a nifty digital update for these times.
    • 85 Metascore
    • 75 Critic Score
    This remarkable concert film, beautifully shot by director Jonathan Demme over two days last summer, is all about legacy, a more-or-less conscious exercise in myth-making on the part of a musical giant facing his own mortality.
  76. Julia Jentsch offers a brilliant example of what actors call "not playing the ending," and the awful suspense of the piece is watching as she realizes, in increments, that this is all much worse than she thought.
  77. The result is the kind of feel-bad/feel-good movie that brazenly manipulates our response and leaves us grateful for it -- so relentlessly dark is the premise that, by the end, we just need to believe in the prospect of light.
  78. Little Fish is a small film about one family and drugs, but it succeeds in standing for a larger social catastrophe.
  79. The freestyle approach is an apt fit with the freestyle, spontaneous comedy, as both the playful director and affable star capture moments on the fly.
  80. For a few fleeting hours, they unlearned those lessons of childhood, laying down their arms to pick up their common humanity.
  81. Well, I didn't exactly leave the theatre barefoot, but there's a lot to like here -- the result is pretty darn cute and hardly ever cloying.
  82. Apart from its star, though, Emma may be the least convincing Austen adaptation so far.
  83. Yet, about as often as Marvin's Room strikes a chord of emotional authenticity, it hits a fistful of false notes as well.
  84. As returns go, Return To Paradise falls short of heavenly, but it does get to the stars -- at least three of them.
  85. Mainly, it's a clever gimmick, cleverly wrought, offering further evidence that you can dress up the student body in all manner of garb for all types of genres.
  86. An uncomfortably fascinating document of a man whose bipolar disorder and artistic ambitions are inextricably connected.
  87. Holofcener's work is character and dialogue-driven, with a keen sense of prickly female competitiveness and intimacy that a man couldn't, and probably wouldn't, dare portray.
  88. Hard Candy not only trips along a tightrope line between exploitation and art; in some ways, that line is its subject.
  89. A stylish, sharply observed erotic mystery.
  90. Greengrass's reluctance to unduly demonize the villains or overly sentimentalize the victims is commendable on the surface, but it tends to blur the two sides and to mask the gulf that separates them.

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