The Globe and Mail (Toronto)'s Scores

For 4,503 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 12 Years a Slave
Lowest review score: 0 The Avengers
Score distribution:
4503 movie reviews
  1. British humour at its eclectic best, a deliciously heady mix of dry wit and ribald farce.
  2. In this journey, [Crowe] wears the uniform, the accent and the derring-do with consummate panache. Have him strike a muscular pose on the ship's prow, which Weir does more than once, and the manly sight puts that wussy DiCaprio to titanic shame.
  3. Top Five finds Rock in an elevated form, at 49. Things change, sometimes for the better.
  4. 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.
  5. There's no redemption here. Indeed, if anything is redemptive about Katyn , it's the fact of the film itself.
  6. In the end, the family drama rolls on as the political metaphor wears thin so that the second half of the film is less striking and less interesting than the first.
  7. The combination of Hardy’s almost androgynous features and powerful physique evokes a young Marlon Brando, and while it’s premature to say he has a talent to match, he has emerged as one of the screen’s most versatile and compelling presences. Locke is what you might call his sedentary tour de force.
  8. The ever-reliable Hanks sympathetically personifies all in America that is worth fighting for, while his British colleague’s surprisingly comic version of Rudolf Abel portrays the Russian spy as a man quietly steadfast in his loyalty to a different cause.
  9. This delightful stop-motion animated romp features no dialogue, which is as it should be – the beauty of animals is in their actions, not words, after all.
  10. The movie's main attraction isn't hard to find. It's essentially a character study, but one where the nature of the study is as unique as the stature of the character.
  11. 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.
  12. Ultimately, the result is identical to Mills's debut effort in "Thumbsucker." Once again, clever insight vies with misty-eyed sentimentality, honesty with artifice, real humour with bogus gravity, the genuinely affecting with the merely quirky. But "Thumbsucker" was at least a promising start; Beginners is just a frustrating continuation.
  13. Gomes believes we should all take responsibility for one another and sees austerity as a government abrogation of social duty that ultimately turns citizen against citizen.
  14. Mainly, though, it's the exquisite restraint - both of Cornish's performance and Campion's direction - that gives the film its power.
  15. It’s shocking and troubling, but it doesn’t add much to the reality we already know cruelly exists.
  16. Fortunately, there's always the fascination of watching actor Toni Servillo, who does a brilliant job of playing Andreotti (known as Beelzebub) as a kind of devil with a clown's exterior.
  17. A half-century ago, "kitchen sink realism" began its harsh existence on the British stage and then migrated to the screen where, over the years, the genre has taken up permanent residence, maturing into a gritty art...Now add Andrea Arnold to the directors' list and Fish Tank to the kitchen. It's classic low-rent realism – you can almost smell the grease on the unwashed dishes.
  18. No
    Take the backroom political machinations of "Lincoln," add in the showbiz sleight of hand of "Argo," and you’ll get something like No, a cunning and richly enjoyable combination of high-stakes drama and media satire.
  19. To watch Portman’s every move is to not only watch history being recreated, but to also witness history being made. No one will ever be able to touch this role again. Or, at least, no one should.
  20. A twofold story of heroic achievements and personal failings.
  21. With Hot Fuzz, you'll just have to settle for semi-hilarity.
  22. A simultaneously realistic and absurdist examination of police work.
  23. Tarantino's approach is so enamoured of the exploitation cinema he emulates, there is a serious risk that noble intentions get smothered in juvenile comedy and cinematic grandstanding.
    • 81 Metascore
    • 88 Critic Score
    A refreshing take on vampire lore.
  24. It's not the subject matter itself that's offensive -- pedophilia is as worthy a topic of investigation as any other. Instead, it's the subject's non-treatment -- we don't learn a thing that rings true.
  25. This ranks among the highest concentrations of acting talent brought to any screen. But let's spare no praise for David Hare, whose superb script draws heavily on his playwrighting skills.
  26. The Big Short has a reckless, off-balance energy, with an ending that doesn’t really end the uncertainty: The collapse could happen again, no joke.
    • 81 Metascore
    • 88 Critic Score
    The obvious subtext of Moana is rich and pointedly relevant, but never overpowering.
    • 81 Metascore
    • 88 Critic Score
    Perhaps Jia is trying to prove the point that the future has already arrived. Or perhaps he is suggesting that the truth is stranger than science fiction. This is today's China: Anything is possible.
  27. The excesses are easy to forgive, both for the humour and charisma of Rourke's outsized performance and Aronofsky's canny low-key direction, which make for a combination that is irresistible.
  28. Skyfall is one of the best Bonds in the 50-year history of moviedom's most successful franchise.
  29. In the end, like any satire worth the name, In the Company of Men spins around to fire its biggest salvo at its ultimate target -- the audience.
    • 81 Metascore
    • 75 Critic Score
    Shane Carruth’s Upstream Color is a deliberate exercise in swooning obscurity. You either go with its considerable sensory powers or you scratch a groove on your head.
    • 81 Metascore
    • 50 Critic Score
    Adds more cosmic cliff-hangers than it resolves, and it's not as satisfying as the original. A star war can be an exhausting bit of business, especially when, in the end, it turns out to be something of a cheat.
  30. Waititi (who’s also responsible for the best comedy of 2015, "What We Do in the Shadows," and will next tackle the third "Thor" film) executes a series of deft narrative U-turns, twisting the tale into 101 minutes of pure comic joy.
    • 81 Metascore
    • 75 Critic Score
    Ballets Russes should find a wider audience beyond dance aficionados. Like all good documentaries, the human element is the glory of Ballets Russes.
  31. Death, torture, humour and even budding eroticism -- now this is more like it.
  32. Daughters of the Dust is hypnotic, flowing with the trance-like rhythms of a poem that is beautifully written yet deliberately arcane. It's the cinematic equivalent of the voices you hear in the fiction of Toni Morrison or Alice Walker, but without the connecting narrative thread that most novels possess and most movies imitate. The result is a difficult work, yet a haunting one. [29 May 1992]
    • The Globe and Mail (Toronto)
  33. What completely undermines that appearance is Shankman's chronic inability to shoot the damn scene. His camerawork is so stiff it should be interred in a pine box.
  34. An ultra-cheap movie, ingeniously promoted through the Internet -- is notable primarily as a model of guerrilla-style niche-marketing.
  35. The verdict? King Kong may be a great movie event in a "Jaws/Titanic" sense of blockbuster impact and cultural talking point, but it is not a great movie.
  36. Certainly, his (Allen) work here feels effortless, and that feather-light touch gives the picture its charm – modest but real.
  37. As in "Taxi Driver," the protagonist is a damaged war veteran, an invisible man who travels about the city and internalizes its contradictions until he explodes.
  38. Plays like a sophisticated children's story.
    • 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.
  39. It tells a well-crafted story; the new characters are invigorating; the old characters are reintroduced tidily. But it is also far too enamoured with the power of its own history.
  40. Yes, the premise is delightful; no, the delight doesn't last.
  41. Paprika is a creatively dizzying and visually dazzling allegory about alternative realities.
    • 81 Metascore
    • 75 Critic Score
    Yet the most startling scene in the film is when he returns home after confinement. He politely tells the journalists waiting outside his home studio that he is on bail and can not talk. He smiles and repeatedly declines to comment. It is utterly contrary to his true character.
  42. Even when the plots of sexual confusions, transgression and tragedy became absurdly complicated and arbitrary, there was always the mise-en-scène to die for.
    • 81 Metascore
    • 75 Critic Score
    Lawrence and Cooper have electric chemistry, and the director pulls off one of the most satisfying romantic Hollywood endings seen in years.
  43. All this is as fascinating as it is humbling, even when Herzog ventures a little too far down eccentricity's back alley.
  44. The Martian is nearly all things to all audiences: a ticking-clock drama, an intimate character study, a sci-fi comedy, a rollicking space adventure. It’s almost impossible to dislike, which is perhaps its only flaw. When a huge film reveals its eager-to-please intentions from the get-go, the stakes evaporate awfully quick.
  45. 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)
  46. The film is filthy with nuanced moments of fierce, sweaty intimacy, all shot with a precise eye for detail. At the very least, it will make you rethink your next rodeo.
  47. 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.
  48. A movie that gets wonderfully under your skin.
  49. Every scene is perfectly framed, every symbol lovingly shot, but the story and the characters remain opaque.
    • 80 Metascore
    • 75 Critic Score
    It is a slight, charming, filmic oddity, well acted and intelligently written
  50. In many areas, Food Inc. could be accused of being a fast-food version of a documentary – it's everywhere at once, skipping across the surface of a vast subject, and adding nuggets of sweetness to the scary filler.
  51. The result is an intriguing hybrid, mixing a Japanese reverence for nature (a raindrop shimmering on a leaf is a visual haiku) with quaint Victorian architecture and a story featuring contemporary, Caucasian-looking Japanese characters speaking in American accents. Somehow, it all works.
  52. All that's deliberate, but the lingering question is not: Is Melancholia a sly depiction of the end we deserve, or simply a lovely load of bombast? Be prepared to choose one or the other; unless there's an extra moon in tonight's sky, it can't be both.
  53. Everything about The Queen of Versailles, a documentary both sharply observant and deliciously funny, is jumbo-sized – the riches, the rags, his ego, her breasts, their steroidal pursuit of happiness.
  54. With Incendies, Villeneuve attempts to balance moment-by-moment authenticity and operatic emotional impact. Much of the time, he succeeds.
  55. A cornball charmer of a film with some beautiful birds and homespun wisdom.
  56. May be less than the sum of its parts, but its parts are more impressive than most other wholes around.
  57. Often more ingenious in appearance than fact. The hunter-gets-captured-by-the-game scenario is predictable and the sequence of shell games does not, when reconsidered, actually add up.
  58. It’s a tough watch, but inspiring.
  59. The payoff is the revitalization of Bond by making him closer to what Fleming envisaged: a sociopath who, fortunately, is on our side.
  60. Cinema Paradiso converts you to the credo that art can indeed be holy.
    • 80 Metascore
    • 88 Critic Score
    Yet this surprisingly lyrical movie more than satisfies overall. De Niro, who has a rare eye for detail and nuance, shows himself at ease with action, comedy and romance. He also has a fine touch with actors. [1 Oct 1993, p. C5]
    • The Globe and Mail (Toronto)
  61. Labelling his film as a response to the impoverishment of ordinary people caused by the government-imposed austerity of 2013-14, Gomes explains his dilemma brilliantly at the start of Volume 1. How is a well-meaning filmmaker to effectively render the pain of the Portuguese with a documentary set in a town where the shipyard has closed just as alien wasps are attacking local beehives?
  62. As usual, the Coens' visual elements are pristine. The contrasting colours in the fire-lit interiors are gorgeous, while cinematographer Roger Deakins keeps the camera close, resisting traditional panoramic views.
  63. 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.
  64. McNaughton's film, which has been described as "too arty for the blood crowd and too bloody for the art crowd," is an exercise in revulsion by an often skilled filmmaker. [8 Oct 1990]
    • The Globe and Mail (Toronto)
  65. Loses its momentum just when you'd expect the suspense to mount -- at the competition itself.
  66. Not until the final shot does Noyce rise up to the potential of the history: There's a sudden shiver of recognition, that, my God, these people really lived this.
  67. Hackle-raising in its intensity.
  68. Easily among the top 10 films made last year.
  69. The Canadian film "Atanarjuat" travelled back to the past to meet an ancient legend on its own ground and treated the tale realistically. Whale Rider whisks its legend up into the present, and then adds a touch of lyricism.
  70. The Mill and the Cross may thrill you. But be prepared for a fight. Twenty minutes in, your companion may throw up his or her arms and complain, "This is like watching a painting dry." They wouldn't be wrong.
  71. With its bold screen-filling imagery, this is definitely a movie to be relished on the big screen.
  72. On the positive side, it's still four back-to-back Simpsons episodes, which is still better than most of what either television or the movies have to offer.
  73. His story here is well-woven, with the kind-hearted voices of psychiatrists, playwrights, family members, lawyers and the gregarious McCollum himself failing to come up with a solution on how to handle an autistic, obsessive and irresponsible rail rider.
  74. Too long by about 20 minutes, and arguably too obsessed with the lineage of names only of interest to other surfers, this is a vicarious kick.
  75. A magical and often bleak parable about societal clashes.
  76. Are these enlightened critics or dark nutcases themselves?
    • 80 Metascore
    • 75 Critic Score
    Even in death, Kato has been harassed. In one of this movie’s many unsettling scenes, a pastor interrupts his funeral to condemn the dead man to eternal damnation.
  77. Presented the usual way, the film would be enchanting. In 3-D, however, Coraline is completely engrossing. Selick uses the technique brilliantly to enhance the comedy and horror that mingle in his more "family-friendly" version of Gaiman's dark story.
    • 80 Metascore
    • 75 Critic Score
    It's blackly comic - though the humour creeps up on you slowly, and you're seldom sure if you should really be laughing.
    • 80 Metascore
    • 100 Critic Score
    Director Peter Strickland brilliantly ratchets up the tension without showing a single frame of the grisly film.
  78. Turns out to be one of the most compelling, finely orchestrated and oddly enchanting films of the year so far.
  79. Can a little-read 18th-century literary masterpiece be food-spittingly funny? Can it also include contemporary English actors riffing about their bad teeth, getting drunk and kissing their personal assistants? The answer is yes, as long as you agree that the best way to adapt an original book is with a correspondingly original film.
  80. Good Night, and Good Luck may be simplified history, but it's almost consistently well-crafted.
  81. Beyond Thunderdome is a masterfully directed fantasy, convincing down to the smallest detail in its vision of an alternate existence, and it has gone beyond the relentless sadomasochism of The Road Warrior; Max has now taken up with children, and Mad Max Beyond Thunderdome is suitable for them. [9 July 1985]
    • The Globe and Mail (Toronto)
  82. This haunting Chilean documentary is more poetry than journalism as filmmaker Patricio Guzman compares the fate of the indigenous people of Patagonia with that of the disappeared of the Pinochet regime.
    • 80 Metascore
    • 75 Critic Score
    Even though the subject of this British documentary is a traveller who got lost in a more terrestrial sort of void, the spirit of the stranded astronaut haunts Deep Water.
  83. Upbeat it ain't, but when the light fades from the final frame, there remains something unusual in the Dardennes canon – the possibility of an escape from futility's clutches, and a reason for hope that might, just might, be more than an illusion.
  84. Though Little Miss Sunshine is consistently contrived in its characters' too-cute misery, the conclusion, which is genuinely outrageous and uplifting, is almost worth the hype.
  85. An anthropological marvel and an animal-drive movie that belongs beside the classics of the genre - Red River and Lonesome Dove.

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