The Globe and Mail (Toronto)'s Scores

For 4,826 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Terms of Endearment
Lowest review score: 0 Airheads
Score distribution:
4826 movie reviews
  1. As refreshing as it is to find a movie that leaves you smiling, it's something much rarer to discover a film that makes you think about what a commitment to happiness really means.
  2. Extracting big drama out of small events is Mike Leigh's forte, and with his latest little masterpiece, Another Year, the English director pushes himself to the extreme.
  3. Director James Cameron always works on a mega- canvas, yet he's brought off something unique here.
  4. There's something about this story, and this war, that brings out the stripped-down conceptual artist in her (Bigelow): Against blank canvases of desert sand and rubble, explosive wires are linked to nerve ends, and everything that matters depends on the twitch of a muscle or a finger on a button.
  5. A fantastic film.
  6. The wonder is that the film balances its many genres, from the thorns of murder to the bloom of romance to the thickets of politics, with such easy grace.
  7. A miraculous, American-made Hindi film that is every bit as tranquil as the blue-green reservoir that serves as its abiding metaphor.
  8. If Apocalypse Now was criticized in the past as a series of impressive sequences that don't quite add up to a tidy story, the new additions put this in perspective. It's a filmed epic, not a filmed drama. [10 Aug 2001, p.R1]
    • The Globe and Mail (Toronto)
  9. An idiosyncratic masterpiece and one of the few films in history that gloriously earns the appellation Proustian. [25 Sep 1989]
    • The Globe and Mail (Toronto)
  10. Great art is both immediately accessible and eternally elusive, having at its centre a powerful simplicity that speaks to anyone who cares to listen, that rewards every interpretation while embracing none. The Piano is great art.
    • 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.
  11. Tarantino is a masterful storyteller, painter of cinematic images and director of actors; the script, the cinematography and the cast of outlandish characters, created by a powerful ensemble dashingly led by Jackson, can’t be faulted in any way.
    • 66 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.
  12. 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.
  13. Like Wheatley’s 2011 film "Kill List," High-Rise switches genres effortlessly – black humour one moment, dystopic parable the next – until it becomes its own singular, horrifying, immensely captivating thing.
  14. 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.
  15. 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.
  16. Rippling with resonance, Dead Calm is Jaws in a human form, a shape profoundly complete and completely disturbing. [07 Apr 1989]
    • The Globe and Mail (Toronto)
  17. 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.
  18. 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)
  19. 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.
  20. Delicate, intelligent and honest.
  21. 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.
  22. The mesmerizing and lingeringly paced Cemetery of Splendour, picks up where Freud left off.
  23. 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.
  24. 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.
  25. They really pulled out all the stops on this one.
  26. It is filmmaker Assayas who is the star here. France's most important contemporary director has created a work of almost magisterial calm.
  27. Reeves keeps the action moving steadily, never letting the film’s 140 minutes feel even slightly bloated, and surrounds Caesar with a visually stunning, compassionately conceived group of side characters.
  28. Cinema Paradiso converts you to the credo that art can indeed be holy.

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