The Globe and Mail (Toronto)'s Scores

For 3,936 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Wolf of Wall Street
Lowest review score: 0 Godzilla
Score distribution:
3,936 movie reviews
  1. Yes, The King's Speech is a lively burst of populist rhetoric, superbly performed and guaranteed to please even discriminating crowds.
    • 88 Metascore
    • 75 Critic Score
    Disney has historically peopled cartoons aimed at children with violent, gruesomely animated villains. For all its delicious whimsy, Up is no exception.
  2. One of those rare films that manages to be both terrifically entertaining and consistently thoughtful, it turns an apparently tame deception into a very rich metaphor.
  3. Yes, at its best, Birdman soars, swoops and flutters with life and invention, but it parrots more than it speaks. You long for a writer as reliably, elegantly witty as Tom Stoppard, whose dramas are typically “backstage,” or if not Stoppard, at least a verbal speed-puncher like Armando Iannucci, or if not Iannucci, someone as relentlessly inventive and obsessive as Charlie Kaufman to make you feel like somebody is trying to say something, rather than a writing team filling in the intelligent-sounding words to support the boisterous performances and the virtuosic camera dance.
  4. Nothing short of mesmerizing.
  5. Life is Sweet is sweet indeed - and comic and quirky and, on those occasions when the tone deftly shifts, just a little sad... Leigh's work, and the quotidian life it depicts, is sometimes slim but never insubstantial, occasionally sweet but never a sugary confection. And always worth celebrating. [24 Jan. 1992]
    • The Globe and Mail (Toronto)
  6. Few directors working today make films with the grace and magisterial power of Jean-Pierre and Luc Dardenne's best work.
    • 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)
  7. The whole ensemble has a hoot with this material, and their joy is contagious.
  8. An unforgettable portrayal of the unglamorous gangster life, which is often short and never sweet.
    • 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.
  9. The feeling is like a warm homecoming.
  10. Ultimately, your nautical mileage may vary as to whether Chandor and Redford achieve the philosophical and emotional impact they intend, but in a movie that is a demonstration of the importance of trying, they definitely try.
  11. A fantastic film.
  12. At first startling, even disengaging, that strange style eventually dovetails with the awful substance.
  13. The S in Robert S. McNamara stands for Strange, which is an unusual middle name and perhaps an apt description of the man at the centre of documentary filmmaker Errol Morris's gripping character study, The Fog of War.
  14. Ledger proves what we've suspected all along -- this is his picture, and he steals it brilliantly.
  15. This outing not only doesn't disappoint; it surpasses high expectations. This is a terrific, smartly designed adolescent adventure, visually rich, narratively satisfying, and bound to resonate for years to come.
  16. 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.
  17. An astonishing multimedia diary.
  18. Reportedly, after seeing the film, rapper Eminen is anxious to play a wheelchair athlete in a coming movie.
  19. When it came to describing what was happening to him, Ebert was forthright, clear-eyed and admirably free of neurosis and self-pity.
    • 87 Metascore
    • 88 Critic Score
    There’s voyeurism, fetishism, bondage, lingerie and high-flown naughtiness galore, but that’s hardly the movie’s most conspicuous achievement. Also at work in this transfixing account of a sado-masochistic relationship on the ropes (so to speak) are a probing intelligence, a catalogue of inspirational cinematic references and – perhaps most impressive – a big, sad, beating heart.
  20. Compelling, disturbing.
  21. Turning the stately game into something few can resist – a smart and lively comedy of manners.
    • 87 Metascore
    • 75 Critic Score
    There are those trying to position "Gone Girl" as the date-and-debate movie of the season, but it isn’t half the unsettling thriller Force Majeure is.
  22. Lincoln is directed by Steven Spielberg but, to his great credit, few will mistake this for a Steven Spielberg film. Rather, it's a Tony Kushner film, the playwright who conjured up the wordy but intricately layered script; and it's a Daniel Day-Lewis film, the actor who so richly embodies the iconic title role.
  23. Mostly, Nebraska impresses for its sure rhythms and artful balance of comedy and melancholy, resulting in Payne’s most satisfying film since "About Schmidt."
  24. The story may stretch credibility until it's ready to pop its seams, but Patel conveys the simple confidence of a prodigy who has learned everything important in life, except how to lie.
  25. Giddily impudent in its execution, pummelling in its message, To Die For is finally a comedy black enough for the tabloid television age.

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