The Globe and Mail (Toronto)'s Scores

For 4,566 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Listen to Me Marlon
Lowest review score: 0 Mojave
Score distribution:
4566 movie reviews
  1. After 107 well-packed minutes, Dotan’s film (which curiously fails to mention current Israeli Prime Minister Benjamin Netanyahu) arrives at a pessimistic outlook. A settlement on the settlements is nowhere in sight.
  2. Is The Trip to Italy the second Godfather of comedies, or a retread? Neither, exactly. The concept is no longer fresh, but the scenery on the Amalfi and Sorrento coasts is more transporting, and their convertible Mini Cooper is a more amusing vehicle. Finally, the fact that the only singalong CD for the drive is Alanis Morissette’s 1995 album Jagged Little Pill is an unexpected master stroke.
    • 75 Metascore
    • 75 Critic Score
    This is a fine, funny, humane film.
  3. A believable, tender story of how a terrible crisis can turn out to have a positive, transforming effect on a family as long as there is love.
  4. There is little chance for the movie's talented stars, Day Lewis and Emily Watson (Breaking the Waves) to establish and develop their characters, beyond their set-piece declarations of love.
  5. Stacked against this summer's CGI-driven blockbusters, Attack the Block is definitely the fastest action ride (clocking under 90 minutes), and quite possibly the most fun.
    • 75 Metascore
    • 88 Critic Score
    If the roots of terrorism are hopelessly snarled, Terror's Advocate does a very good job of exposing some of the soil in which they grow.
    • 75 Metascore
    • 88 Critic Score excellent in the role, rendering Edith’s monstrous ambition with relatable (and frequently terrifying) conviction.
  6. The racer turns out to be a contender, but the small-time syndicate is the real story, an inspiring tale heard, as it were, straight from the horse’s mouth.
  7. It does what it desires to do - it suspensefully squeezes the sweat out of the pores - but the salty stench it leaves behind in the persona of Annie Wilkes is a residue that transcends its intentions. [30 Nov 1990]
    • The Globe and Mail (Toronto)
  8. Win Win is a paragon of truth at a slow jog, but that upbeat sprint to the finish feels like a big cheat.
  9. It's not so much a movie in three acts as three movies stuffed into a single casing, and often showing the strain.
  10. Although the film is raw, intense and even beautiful at times, the queasy knowledge of how it all came together constantly threatens to uproot any artistry. This doesn’t mean Heaven Knows What is a failure – just hopelessly complicated.
  11. In an irony, Godard’s certainly aware of (after all, he constructed it), Goodbye is noteworthy for being shot in 3-D, a calling card of the cookie-cutter Hollywood movies it couldn’t have less to do with.
  12. Here is a psychological twister with an implausible and hard-to-follow plot. All of this is more than compensated for by terrific performances, a seductive colour palette that is greenish and glassy, and a minimalist style reminiscent of Michael Mann.
  13. Propelled by a perfectly cast trio of stars whose eccentricities shine in singular character roles, Bernie is a charmer.
  14. The impact should be visceral and gut-wrenching; instead, it's cool and cerebral – after all, we're being lectured in a lecture hall.
    • 75 Metascore
    • 75 Critic Score
    Like Apatow's best work, this is about friendships – only this group of loveable misfits wear matching purple gowns.
  15. The exiled Tibetans who are interviewed display a lack of bitterness, a sympathy for their enemies and hope for the future that is inspiring.
  16. The Invisible Woman is, fair warning, leisurely in its pace.
  17. The Muppet charm, always more at home within the intimate frame of a TV set, is gone here.
  18. Writer-director Zandvliet has crafted a handsome, affecting and questioning film about post-war revenge and forgiveness. On a tough field to navigate, he makes it to the other side, commendably.
  19. Even a politically naive film critic can see that An Inconvenient Truth isn't only about science or economics; it's also about ideology.
  20. Bad history it may be, but Elizabeth is a movie that makes you want more, as it plays to the myth of history's great actress-monarch, a character who puts today's tinselly political heros and heroines (royal and not), to shame.
  21. Gimmickry is death to this sort of artsy endeavour -- it turns a movie with a small budget into a small movie.
  22. 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.
  23. It feels like one long non-sequitur -- like closing a Charles Bronson film with a disco medley -- but there's an emotional consistency to Kitano's boisterous celebration of movement.
  24. Lady Vengeance is more than half over before we discover the object of Geum-Ja's hatred: a kindergarten teacher named Mr. Baek. He's played by Choi Min-sik, the prisoner in "Old Boy," and here he's as tepid as he was heated in that film.
  25. The movie's big kick – what makes Enchanted live up to its title – is that the further Giselle progresses in New York, the more we feel like we've tumbled into a timeless Disney Neverland.
  26. The story of Canada’s tragically unhip – Geddy Lee, Alex Lifeson and Neil Peart, charter members of a group that has sold 40 million or so albums and discs since 1973, without ever getting a whole lotta love. Never mind the Rock and Roll Hall of Fame; Rush never even made it on American TV until funnyman Stephen Colbert invited them on The Colbert Report in 2008.
  27. An uneven but intriguing piece of whimsy that veers from powerfully symbolic cinematography into self parody.
  28. Detective Dee is the action flick of the year, a two-hour epic that blows the "Pirates of the Caribbean" to the Bermuda Triangle.
  29. It’s subdued, at times even too leisurely, but the film and its characters are luminous, especially lead Ayase Haruka.
  30. What we learn from the enjoyable punditry of siblings, art-world associates and former lovers is that the gorgeous provocateur was consumed with fame, and that everything and everybody was a means to that end.
    • 75 Metascore
    • 63 Critic Score
    It’s humanizing and heartbreaking.
  31. What makes Crude worthy of the overused term “epic” is the way the case symbolizes a host of contemporary issues: the iron-fistedness of multinational corporations; environmental despoliation; the disappearance of indigenous cultures; and the power of celebrity and the media to influence justice.
  32. The film’s delightful collision of the poetic and the profane is illustrated perfectly about midway through Chapter 2.
  33. The couple are the movie’s saving grace – especially Lillian, now 87, who regales in every story.
  34. Dive into a masterpiece.
  35. May not have the most sophisticated narrative, but it is one of the most spectacular and masterly demonstrations of animation in screen history.
  36. Captures some of the spirit of the real Che.
  37. To these disappointed eyes, Little Children seems a frustrating mess.
  38. A great movie... A pop epiphany, marking that commercially creative point where the power of Hollywood meets the purity of myth.
  39. What keeps the energy percolating is DiCaprio’s performance, in the loosest and most charismatic turn of his career.
  40. The confluence of poverty, dysfunctional parenting and poor educational prospects makes the oft-idealized small-town life look like an incubator for failure, no matter how high and spectacular the Fourth of July fireworks fly.
  41. In nearly every way Civil War represents the dizzying heights of the genre.
  42. The film’s bizarre, gore-soaked premise actually manages to ease viewers into the far more uncomfortable topic of grief – after all, dying is easy, but living with death is much more complicated.
    • 75 Metascore
    • 88 Critic Score
    Stand By Me is not "a masterpiece," but it is an evocative and cheerily amusing movie about growing up male in 1959, a kind of pre-pubescent American Graffiti, the locker-room rejoinder to My American Cousin. [8 Aug 1986, p.D1]
    • The Globe and Mail (Toronto)
    • 75 Metascore
    • 75 Critic Score
    Some may find Finding Vivian Maier invasive, since Maloof and co-director Charlie Siskel delved into its namesake’s past after her death, but their curiosity is genuine rather than prurient; this is the rare example of a documentary about an enigmatic subject that doesn’t pretend to know all the answers.
  43. Sometimes, the quiet lyricism of DuVernay’s direction seems at odds with the grittiness of the subject matter, like poetry force-fed into prose.
  44. A laugh and a half, a genial crowd-pleaser.
  45. An unusually smartly written and performed American independent film.
  46. The best thing the film does is to show us not only what that mind looks like, but how the creative process itself operates: messily, erratically, outside of most people's morality, but with a force and purposiveness that makes the machinations of the rest of us look irresolute by comparison.
  47. Serves to champion human irrepressibility and unpredictability. It's the flip side to the defeatism of "Distant," but with parallels, both in the very deliberate pacing and moments of visual wit.
    • 75 Metascore
    • 75 Critic Score
    Never the most subtle of directors Oliver Stone brings a jackhammer brutality to Born on the Fourth that the material no longer needs. [22 Dec 1989, p.C1]
    • The Globe and Mail (Toronto)
    • 75 Metascore
    • 75 Critic Score
    The overwhelming sense of physical and moral decay could be taken for social commentary, and if Graceland has a flaw, it’s that Morales gradually starts to overstate his case as the movie goes on.
  48. But it’s Rooney who commands the most attention. As she already proved in David Fincher’s "The Social Network" and "The Girl with the Dragon Tattoo," she has an oddly fascinating screen presence, suggesting both vulnerability and inscrutable levels of calculation. Few actors or actresses can make inexpressiveness look so smart.
  49. Unlike Brian De Palma, Lynch is not a natural conversationalist, so the result is a stiched-together narrative that is as curious and occasionally frustrating as the man himself.
  50. For a filmmaker who was frequently drawn back to the subject of suffering, and especially the anguish of the individual cast against the collective will of cruel, foolish authority, it’s a perfectly fitting farewell.
  51. It all makes for an entertaining, occasionally delirious ride – especially the opening sequence.
  52. A meditation on death that has you humming to the melody and laughing at the joke -- it's an elegiac picture that refuses to eulogize.
  53. Everything about Mid-August Lunch is simple and unpretentious, from the black-out scene transitions to the folk-dance score, as the four isolated, elderly women, over a couple of days and meals, become a circle of companions.
  54. Like the stationary figures it portrays, Kicking And Screaming is alive at the edges; it comes with a vibrant border of trenchant asides, tossed-off remarks that blend the solace of protective irony with the sterner stuff of hard truth.
  55. Both an homage to his dad and a backstage story rich in Hollywood lore.
  56. The love that blooms is essentially between the boys. They both have some considerable growing up to do, but theirs is a true romance and it's awfully sweet. Funny, too.
  57. The artistry of the storytelling, the visual approach and Gosling's performance in The Believer make us believe that Danny's path was the only choice for him, a truly disturbing and fascinating revelation.
  58. Always well-meaning, not always well-executed, In This World ends by suffocating us in its good intentions.
  59. A beguiling, slow-moving parable.
  60. Gets under your skin as another thought-provoking wake-up call about the power of studios and the corporations that back them.
  61. The screen, always Bergman’s supreme medium, is proof of the power of her magnetic and energetic presence. It shines through in even the grainiest, jumpy, out-of-focus home-movie footage.
  62. Whether Omar will ultimately serve to change or harden hearts remains ambiguous, though it’s a movie that’s entertaining enough to appeal to the kinds of ordinary kids we see in the movie.
  63. Physically ripped, constantly engaged and possessing a quite possibly insane desire to do each and every one of his own stunts, Cruise is the platonic ideal of an action star. And thank god for that.
    • 75 Metascore
    • 75 Critic Score
    It manages to be heartwarming and heartbreaking all at once.
  64. Waitress is sweet, uneven and, ultimately, a heartbreaker.
  65. Kimberly Reed’s debut documentary, Prodigal Sons, would make a terribly contrived novel, but is a compelling and sensational real-life story.
  66. Abramovic is a sensationally attractive narcissist and the filmmakers are clearly smitten with her, but the film goes a long way to establish the intellectual seriousness and dedication involved in her ambitious series of art stunts.
  67. A maniacal, hallucinogenic dip into the bloodbath drawn by a pair of mass murderers, it's the quintessential Stone opus - topical, testy, and wildly controversial, as brilliant or egregious as you wish it to be. [26 Aug 1994, p.C1]
    • The Globe and Mail (Toronto)
  68. 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.
  69. The only country in the Western world without a universal system – is indeed Sicko. But if that social wound is gapingly obvious, so is this documentary.
  70. As angry, deluded, vulnerable and confused as Aileen is, the character remains an enigma. Apart from serving as an opportunity for Theron's emotionally deep-dredging performance, the movie doesn't know why it exists.
  71. Fiennes really shines here, with an electric-cocaine vigour and lust for life.
    • 74 Metascore
    • 75 Critic Score
    For those who have read the book, this contemporary adaptation of a once avant-garde story feels exactly right.
  72. Comparisons of Janis: Little Girl Blue have been made to Asif Kapadia’s touching 2015 documentary on singer Amy Winehouse, but in Amy we don’t see a subject as remorseful as the Joplin presented by Berg.
  73. You have to feel pleased just for the existence of a film like Tim Burton's Frankenweenie. A 3-D, black-and-white, stop-motion animated film, it's a one-man blow for cinematic biodiversity.
  74. A simple film only designed to charm.
  75. The Clowns and the Krumpers have a rivalry that parallels the Bloods and the Crips battle for the neighbourhood, but fought out in moves, not bullets.
  76. Humpday is mostly foreplay. But isn't that usually the most fun anyway? It certainly is in this film.
    • 74 Metascore
    • 75 Critic Score
    It doesn’t take a lot of wit or imagination to use Richard Nixon as a bad guy, but it’s still satisfying to watch a climatic showdown between two supervillains – one brought back from out of the past and the other from off the comic-book page – and wait to see who blinks first. Seems like we’ll always have Nixon to kick around, after all.
  77. This movie might make you cry, but it is not explicitly designed to do so.
  78. For all his daring, the brazen creator maintains control - there's aesthetic order in the disorder, and calculated reason in the madness. Seldom has it felt so good to seem so lost.
  79. I doubt that Jean-Michel Basquiat would have endorsed the subtitle. Indeed, The Radiant Child seems to inflate the very cliché that the rest of this film is keen to refute.
  80. This is a sewer blessedly free of actual sewage, which makes Flushed Away more kid-friendly than, say, the average "South Park" episode.
  81. 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)
  82. The Measure of a Man is about one of those everyday people who lose their livelihood and are at risk of losing everything else, and on this small scale and rather ordinary canvas the human drama is keenly felt.
  83. Smart, serious and deftly composed, New York director Jill Sprecher's jigsaw anthology film, Thirteen Conversations About One Thing, is the kind of work you want to applaud just for its ambitions.
  84. Peggy Sue is by no means a masterpiece of movie art, but it is an example of the sort of thoroughly enjoyable middle-brow Hollywood picture - clever, thoughtful, literate - that went missing about the time Peggy Sue got married. [10 Oct 1986]
    • The Globe and Mail (Toronto)
  85. You can’t feel for anyone when nothing feels real. Memo to Christopher Nolan for future outings: Kill the dream, tell a story.
  86. After witnessing the wearying parliamentary debates among good and bad senators in recent Star Wars episodes, it's a pleasure to watch a sci-fi movie where more than just the spaceships move quickly.
    • 74 Metascore
    • 88 Critic Score
    Shot on a vintage Portapak video camera that actually predates the movie’s early-eighties setting and painstakingly crafted to resemble an analog artifact from a bygone era, Computer Chess is, ironically, a comedy about technological innovation.
  87. This happy daydream contains Coppola's most assured work since "Apocalypse Now;" save for its modesty, it is in no way inferior to his masterpiece, "The Godfather" Saga. [12 Aug 1988]
    • The Globe and Mail (Toronto)

Top Trailers