The Globe and Mail (Toronto)'s Scores

For 4,387 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 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 Harlem Nights
Score distribution:
4387 movie reviews
  1. Observant and funny and thoughtful too, powered exclusively by vérité footage without a word of narration, Babies is William Blake’s Infant Joy brought to rich cinematic life.
  2. The story of a man afflicted with fearful visions, Take Shelter is a film that's hitting the right apocalyptic trumpet call at the right time.
  3. Adapted with great warmth and wit, and with as much of Austen’s crackling dialogue as his own, Stillman shapes lean Austen descriptions such as “He is as silly as ever” into superb character bits for the preposterous twit Sir James Martin (Tom Bennett).
  4. It’s bold, captivating cinema, with a soundtrack that threatens to never leave your head.
  5. Chandor's shrewdest bit of business is figuring out how to make an A-list movie with a $3.5-million budget. Solution: buy low, sell high. Hire last decade's A-list – Spacey, Irons and Demi Moore – and give them their best parts in years.
  6. An unforgettable portrayal of the unglamorous gangster life, which is often short and never sweet.
  7. A classic... Edward Scissorhands is a sharp salute to the oddball in all of us.
  8. One of the things that is admirable about Kenneth Lonergan’s Manchester by the Sea – and there are many admirable things about this quietly moving drama – is the way its initial enigma seems to need no explanation; yet, once deciphered, the film does not falter but moves only deeper into the emotional territory it charts.
  9. A masterpiece, but of a unique kind... A gorgeously filmed, supremely well-acted, intricately written film noir about now.
  10. Few directors working today make films with the grace and magisterial power of Jean-Pierre and Luc Dardenne's best work.
  11. Poised, delicate, powerful, hovering between poignancy and pealing laughter, it is a feast formed by skill and serendipity.
  12. Le Havre, offers the director's usual humour, pitch-perfect acting and compassionate message, with a Gallic twist that should win new converts.
    • 67 Metascore
    • 100 Critic Score
    But Turteltaub surprises us. He has the kind of unerring comic touch - easily able to carry his audience from smart dialogue to heart-tugging emotion to something awfully close to slapstick - that should serve the movie world well.
  13. This is where the movie excels. In the classic neo-realist tradition, it's scant in plot yet rich in mood and character, offering us a revealing hint here, a poignant glimpse there, with each revelation filtered through Michelle Williams's superbly muted performance, all the more moving for being so restrained.
  14. This is like no movie you've seen before, a haunting mixture of horror, history and fantasy that works simultaneously on every level.
  15. You don't need to have seen a lot of art films to love The Diaries of Vaslav Nijinsky. All it takes is compassionate curiosity and perhaps some lingering memory of the world as a child experiences it.
  16. British humour at its eclectic best, a deliciously heady mix of dry wit and ribald farce.
  17. One caveat: At the risk of sounding sexist, let me say A Prophet is an unreservedly male film. Female characters are few and far between, and when they do appear, they pretty much fall into either one of two categories – les mamans ou les putains.
    • 87 Metascore
    • 100 Critic Score
    The movie’s moral centre, is the island’s doctor, who in one of the film’s most powerful moments reflects on all the autopsies he’s performed. “It’s the duty of every human being to help these people,” he says. That’s about as close as director Gianfranco Rosi gets to a political message.
  18. Reservoir Dogs sizzles - it's dynamite on a short fuse, and you watch it with mesmerized fascination, simultaneously attracted and repelled by the explosion you know will come.
  19. Dreamgirls is one of the best movie musicals in memory.
  20. What keeps the energy percolating is DiCaprio’s performance, in the loosest and most charismatic turn of his career.
  21. With this complex characterization, Bening looks like a shoo-in for a best-actress nomination come Oscar time, but she is also amply supported here with two performances that nicely capture the insecurities of earlier stages of womanhood.
  22. Take nothing seriously - not the action, not the gore, not the plot, not the theme. Instead, view Desperado as it's meant to be seen - a comedy - and you're in for an unalloyed treat; heck, you're in for one of the funniest flicks of the year.
  23. If the word masterpiece has any use these days, it must apply to the film Once Upon a Time in Anatolia, a mature, philosophically resonant work from Turkey's leading director, 53-year-old Nuri Bilge Ceylan (Climates, Distance, Three Monkeys).
    • 76 Metascore
    • 100 Critic Score
    Todd Haynes' Safe grips you with its air of antiseptic malevolence and leaves you gasping. You feel as disoriented as the protagonist, a young housewife suffering from 20th-century disease. [11 Aug 1995]
    • The Globe and Mail (Toronto)
  24. The best Canadian beer movie since "Strange Brew," and the best 1930s musical of the year, The Saddest Music in the World is the kind of exhaustingly delirious film that only Winnipeg director Guy Maddin could make.
  25. Eyes Wide Shut still towers above most of the movies out there, immersing the viewer in a web of emotional complexity, at once raw and personal and, at times, theatrically overcooked.
  26. This outing not only doesn't disappoint; it surpasses high expectations. This is a terrific, smartly designed adolescent adventure, visually rich, narratively satisfying, and bound to resonate for years to come.
  27. Consequently, Ephron is forced to shape and integrate the twin halves of the picture, and she does a splendid job - the intercutting is always fluid and never mechanical. Better yet, the script keeps surprising us, setting up stock situations and then pulling away from a stock treatment.

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