The Globe and Mail (Toronto)'s Scores

For 4,828 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 Love & Friendship
Lowest review score: 0 Coming to America
Score distribution:
4828 movie reviews
    • 91 Metascore
    • 100 Critic Score
    Ida
    Favouring long takes over didactic scripting, Pawlikowski lets his powerful imagery carry the film.
  1. Mother! is an unparalleled achievement, entirely unprecedented and unexpected in this era of studio filmmaking.
  2. As with his previous film, director Chang nurses a compelling drama from a multilayered cultural reality, at once intimate and unfathomably large in implications.
  3. Funny, fascinating, utterly unclassifiable film.
  4. Room is a film of tiny little miracles.
  5. 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.
  6. 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.
  7. Hornby is a fine craftsman and his dialogue sparkles, though occasionally the scenes are too calculated.
  8. Even in a season of apocalyptic films, these facts are really, really scary.
  9. Douglas Tirola’s doc does the era and National Lampoon justice. The tone is sharp and freewheeling, the craziness is infectious and the pace is cocaine-quick.
  10. 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.
  11. Director Jon Watts is smart enough never to deviate from a narrow vision that he executes superbly.
  12. 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)
  13. If nothing else can be said of Dogville, it's a film that is like nothing else.
  14. 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.
  15. Pulp Fiction is at least three movies rolled into one, and they're all scintillating.
  16. One of the most irresistible films of the year so far.
  17. There's a certain nostalgia at work here, but where the film really clicks is on the subject of the creative process and as a meditation on the human-machine dynamic.
  18. Listen to Me Marlon is an offer so intimate that no film fan should refuse.
  19. Turns out to be one of the most compelling, finely orchestrated and oddly enchanting films of the year so far.
  20. The documentary of the year may also be its most hair-raising thriller.
  21. Park’s Handmaiden is a great big chocolate box of a movie in which a rich and satisfying narrative is enlivened by some piquant erotica and the sharp tang of politics.
  22. Happily, the Academy of Motion Picture Arts and Sciences has in Moonlight exactly the kind of small, smart film that the Awards should be recognizing more often. Whether it will actually win is another matter: Jenkins’s script and his direction are bracingly free of the sentimentality Oscar so loves.
  23. Shot in Louisiana, with non-professional actors and apparently set-designed from a junkyard, Beasts of the Southern Wild marks one of the most auspicious American directorial debuts in years.
  24. Children of Men is a nativity story for the ages, this or any other.
  25. Stewart does an intriguing job creating a paradoxical character who explains herself without giving of herself, her very persona exposing the false promise of personal exposition.
  26. The Coen brothers adaptation is impeccable, a perfect mirror of McCarthy's prose – sparse, suspenseful, probing and profoundly disturbing.
  27. It's an exquisite, humanistic and subtly topical work of cinema art that manages to keep the intimate, revelatory sensibility of a one-man play intact while fleshing out the characters and creating a very realistic and richly detailed school community.
    • 62 Metascore
    • 100 Critic Score
    Credit goes to the actors (especially Gershon) for giving almost as good as they get in seriously demanding roles, and to Friedkin for having what it takes – guts, chops and a refreshing lack of artistic caution – to bring things thundering home.
    • 70 Metascore
    • 100 Critic Score
    It is superbly executed and, for all its pitilessness, it's an intelligent dramatization of the impact that consumerist values have had on the psyche of the North American middle class at the end of the 20th century.

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