The Globe and Mail (Toronto)'s Scores

  • Movies
For 3,877 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 Maria Full of Grace
Lowest review score: 0 Far and Away
Score distribution:
3,877 movie reviews
    • 81 Metascore
    • 100 Critic Score
    The World’s End isn’t perfect – – but its best moments leave the bulk of recent American “event movies” gasping in the dust.
    • 65 Metascore
    • 100 Critic Score
    These confident women care less about what comes off the runways – ‘money has nothing to do with style,’ says one – than with what can be assembled from thrift-shop finds, homemade items and imagination.
  1. Their excitement is infectious and the entire endeavour both mind-bending and tremendously human: Near the end, Peter Higgs, the recent Nobel Prize-winner and one of the scientists who first predicted the particle back in 1964, is seen in Switzerland watching the data results come in, while a tear trickles down his cheek.
  2. This superb remake has the inevitable look of a period piece, a smoke-filled rendering of things past. However, thanks to Tomas Alfredson's direction, a taut screenplay, and a uniformly brilliant cast, the film also retains its contemporary relevance.
  3. Linklater’s film is very much its own hybrid creature. While the dramatic scaffolding is lightly drawn, it becomes apparent that Linklater has organized his material along certain themes, most notably that of the passage of time and the dream life of childhood.
  4. 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.
  5. Terms of Endearment is the rare commercial picture that sets audiences to laughing hysterically and crying unashamedly, sometimes within consecutive seconds, and then shoos them out of the theatre in contented emotional exhaustion. [23 Nov 1983]
    • The Globe and Mail (Toronto)
  6. Simultaneously a tough, haunting, lyrical, hopeful film, and the tears it wants us to shed are an alloy of sorrow and joy - cleansing tears, the kind that alter the rules and dignify the game.
    • 74 Metascore
    • 100 Critic Score
    Delicate, intelligent and honest.
  7. No so-called serious gangster film has ever been more fun, or less dangerous, or more intrinsically feminist, than GoodFellas. Even "I Married the Mob" was scarier.
  8. A little bit of "Crime and Punishment" and a whole lot of "The Postman Always Rings Twice," Revanche, the Austrian candidate for last year's Best Foreign Language Film, is a surprisingly unruffled tale of love, thievery, murder and revenge.
  9. The picture goes exactly where the prose does, enticing all of us, kids and adults and atheists and believers alike, down below the brittle surface of our cold logic and into a richer world of imaginative wonder.
  10. They really pulled out all the stops on this one.
  11. It is filmmaker Assayas who is the star here. France's most important contemporary director has created a work of almost magisterial calm.
  12. Cinema Paradiso converts you to the credo that art can indeed be holy.
    • 90 Metascore
    • 100 Critic Score
    Ida
    Favouring long takes over didactic scripting, Pawlikowski lets his powerful imagery carry the film.
  13. As with his previous film, director Chang nurses a compelling drama from a multilayered cultural reality, at once intimate and unfathomably large in implications.
  14. Funny, fascinating, utterly unclassifiable film.
  15. Gravity, a weightless ballet and a cold-sweat nightmare, intimates mystery and profundity, with that mixture of beauty and terror that the Romantics called the sublime.
  16. It comes eerily close to duplicating the experience of reading while, at the same time, remaining very much a motion picture. That's a rare, perhaps even unprecedented, achievement.
  17. Hornby is a fine craftsman and his dialogue sparkles, though occasionally the scenes are too calculated.
  18. Even in a season of apocalyptic films, these facts are really, really scary.
  19. The triumph of Foxcatcher is not in the subject but in its art. The clear-eyed compassion and moral intelligence of Miller’s film brings sense to the senseless, and finds the human pulse behind the tabloid shock. It’s not a movie to make you feel good, but, at moments, it reminds you what goodness is.
  20. This is an exhilarating picture, the kind that strips away smug complacencies and exposes raw nerves to a bright light. [14 Sep 1990, p.C4]
    • The Globe and Mail (Toronto)
  21. If nothing else can be said of Dogville, it's a film that is like nothing else.
    • 76 Metascore
    • 100 Critic Score
    It’s not about the world catching up to understand poor, lonesome Hiccup. It’s about Hiccup catching up to the expectations of the world on his own.
  22. Pulp Fiction is at least three movies rolled into one, and they're all scintillating.
  23. One of the most irresistible films of the year so far.
  24. Turns out to be one of the most compelling, finely orchestrated and oddly enchanting films of the year so far.
  25. The documentary of the year may also be its most hair-raising thriller.

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