The Globe and Mail (Toronto)'s Scores

For 4,273 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 A Dangerous Method
Lowest review score: 0 Supercross
Score distribution:
4273 movie reviews
  1. Raimi doesn't make the mistake of over-thinking the flimsy psychology of the genre. All this conflicted-hero stuff isn't meant to be profound; instead, it's there for the same reason as everything else -- to give the action (the interior action in this case) a healthy shot of pop energy.
  2. A film rich in paradoxes. Much of the film's style is dreamy, from the snow-covered Ontario landscapes suggestive of a blanket of forgetfulness, to Julie Christie's pale, intoxicating beauty, to the ambient musical score.
  3. Point and Shoot is a riveting documentary and a disturbing portrait of a pampered American’s “crash course in manhood.”
    • 87 Metascore
    • 88 Critic Score
    Gillian Armstrong's adaptation of Louisa May Alcott's 1868 novel is lively and thoughtful and beautifully formed. [21 Dec 1994]
    • The Globe and Mail (Toronto)
    • 77 Metascore
    • 88 Critic Score
    Flagrantly flawed but never less than fascinating film that does indeed blend the funny Woody and the serious Woody.
    • 87 Metascore
    • 88 Critic Score
    Even when his touch is light, the Swedish filmmaker is masterful at capturing youth’s contracted perception of time and amplified emotions: Every slight could mean the end of the world, and every joy feels limitless.
  4. Don't go down this Rabbit Hole unless you wish to see a superb film that treats a sad topic with unflinching honesty. Don't go down this Rabbit Hole unless you believe that tragedy's grief, when transmuted through art's protective lens, can feel liberating, even joyful in its painful truths.
  5. Scorsese and Schrader have made a courageous film that people of all religions or no religion should be able to watch with identical fascination. [10 Aug 1988. pg. C.4]
    • The Globe and Mail (Toronto)
    • 67 Metascore
    • 88 Critic Score
    The film is just shy of being overstylized by Bhargava's habit of deftly bringing our attention back to the family and their subtle mannerisms amid the chaotic activity around them. The always wonderful Seema Biswas co-stars as the business man's calm sister-in-law.
  6. Ghoulishness and innocence walk hand-in-hand in Tim Burton's Corpse Bride, a movie that digs into Hollywood's past to resurrect the antique art of stop-motion animation and create a fabulous bauble of a movie.
  7. The Shrek franchise is alive and well -- Model 2 is zippier, sleeker, with ever-improving graphics, vast commercial potential and the same sly ability to reach out and hook the whole family.
    • 60 Metascore
    • 88 Critic Score
    It may be a meandering road trip movie about a group of emotive performers who fancy themselves therapists, but Magic Mike XXL is an ingenious revelation of a film.
  8. Polanski's view of life is like that of Greek tragedy, with the same cold comfort that tragedy implies; from the larger perspective which art gives us, we know even horrors eventually pass.
  9. Before that marvel of human engineering - China's Three Gorges Dam - completes its legacy of human upheaval, there are vanishing sights to be seen.
  10. Hawking is as much a phenomenon as the phenomena he explores. Knowing that, A Brief History Of Time has the deceptive simplicity of an elegant equation - it merely sets up the parallels and permits us to wonder, gazing upon the heavens above and the mysteries within. [28 Aug 1992]
    • The Globe and Mail (Toronto)
  11. The film takes its cue from the widow, neither sermonizing or even villainizing, content to serve quietly as an admirable exercise in restraint and a moving example of the grace under pressure that is the essence of courage.
  12. With a riveting performance-within-a-performance of subtle physicality by Nina Hoss, the charade in which a woman plays her own doppelganger certainly borrows tension, look and conventions from postwar film noir.
  13. Sonnenfeld moves things along with alacrity and panache, serving up the exotic visuals quietly, blending in the sprightly humour efficiently, and keeping the mix at a rolling boil.
    • 67 Metascore
    • 88 Critic Score
    The creepiest haunted Hollywood movie since "Mulholland Drive," David Cronenberg’s Maps to the Stars is working an even deeper graveyard groove than David Lynch did.
  14. What an impeccably crafted film this is -- slightly impoverished in theme, perhaps, but so rich everywhere else that it seems rude to notice.
  15. Marshall elicits performances from Williams and De Niro that are exceptional. Awakenings is a small, simple movie about a large, complex issue, the waste of human opportunity. [19 Dec 1990, p.C1]
    • The Globe and Mail (Toronto)
  16. The verdict? Green passes with flying colours -- his is a huge and hugely impressive talent.
  17. In classic B-movie style, The Dark Hours was created in a fever, written in two weeks and hurriedly shot in 16 mm (blown into a crisp 35 mm print). Nevertheless, the film provides evidence of talent everywhere.
    • 78 Metascore
    • 88 Critic Score
    The Innocents is a powerful, brave film that will stay with you for days.
  18. Dunn’s work is a far more fantastical feat, one that mixes slow-burn drama with a welcome Cronenbergian sensibility. Oh, and Isabella Rossellini plays a talking hamster. Just try to top that.
  19. The direction may not be flashy, but it is controlled and confident; the frames unfold with a no-nonsense, nuts-and-bolts realism that, in this era of laser-blazing Batplanes, seems downright welcome.
  20. If you see only one movie this summer, see the movie about the movie it took seven summers to make. Hype? You bet. But the hard sell is warranted when it comes to a documentary with a high-flying title and an action-adventure blockbuster legacy attached.
  21. Demme not only gives the script's nuttiness its due, he adds to it by filling the frame in virtually every scene with silliness - a motorcycle- riding dog, a harpsichordist, a man wearing a T-shirt that reads, "I don't love you since you ate my dog." [7 Nov 1986]
    • The Globe and Mail (Toronto)
  22. Witness is satisfying on so many levels it stands with "Cabaret" and "The Godfather II" as an example of how a director in love with his medium can redeem its mainstream cliches. [07 Feb 1985]
    • The Globe and Mail (Toronto)
  23. Duelling roles are an actor's dream, and Cage takes full advantage. He and that face of his -- hang-dog homely one minute, vibrantly macho the next -- are perfectly cast. So is Streep as the sophisticated Manhattanite drawn into a steamy realm of Southern discomfort.

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