The Globe and Mail (Toronto)'s Scores

For 4,772 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 Berberian Sound Studio
Lowest review score: 0 Passengers
Score distribution:
4772 movie reviews
  1. Whether you appreciate Gloria as a portrait of a vital woman, muddling through life’s middle chapters, or as an allegory of Chilean resilience, the message is the same: Let’s face the music and dance.
  2. From the first stylized shot to the final comic resolution, Moonstruck is completely sui generis - hard to describe but easy to love.
  3. This is a rare adaptation where the script (by McGrath himself) heads straight for the novel's horrible essence, reproducing it non-verbally and in an even more concentrated form.
  4. The best thriller of 2003 was made in 1979.
  5. Never before has Allen been able to integrate comedy and pathos as deftly as he does in Manhattan. [28 Apr 1979, p. 17]
    • The Globe and Mail (Toronto)
  6. An unabashedly schlocky, expertly executed blend of jack-in-the-box jolts and humour.
    • 83 Metascore
    • 88 Critic Score
    Bathed in dusty hues and rain-forest greens, Ixcanul is gorgeously shot and skillfully frames Maria’s curbed sexuality (look to a scene where she waits for her younger crush in the evening shadows).
  7. As for Hawke’s own filmmaking skills, it’s hard to find much wrong with this film, itself a meditation on art and the practice of craft. His touch is delicate, and let’s not worry too much if the tone is occasionally fawning.
  8. As for the implicit tragedy amidst the funny business, the swelling ranks of the unemployed, the movie has no solution but instead offers itself as implicit solace: Escape, ye wretches, into my clever humour and my nifty dialogue and my star's considerable charm.
    • 83 Metascore
    • 75 Critic Score
    The details are astounding. During "Sometimes You Can't Make It on Your Own," the camera is in so tight that you can see Bono's hand tremble around the mike as he belts out a long, sustained note.
  9. A too-perfect mirror of its creator, The Apostle's greatest strength doubles as a singular weakness -- in the end, it feels like an immaculate forgery.
  10. So much cinematic majesty perched precariously atop so little common sense. But, hell, maybe Quentin's right; relax, enjoy -- a castle with a shaky foundation is still quite a sight.
  11. No filmmaker, in any cinematic culture, has a better eye or ear for the working class than director Mike Leigh.
  12. Haneke is best known for "The Piano Teacher." His latest, Caché (or Hidden) is a quieter but equally provocative attack. It's less in your face, more in your head and under your skin.
  13. Red Army ends with Fetisov back in Russia, as a politician. Despite the sometimes shabby way in which he was treated by an authoritarian hockey regime, he says he “never had more fun than playing with those five guys.” Once a comrade.
  14. The film is an attack on religious hypocrisy, mixing melodrama and black humour in a volatile blend.
  15. An absorbing and not-too-uncomfortable experience, so long as you remember there's a camera lens and a big distance between you and the film's violent subject.
  16. Clever and confident use of limited resources in an unfamiliar medium. Kenneth Branagh has made the right choice nine out of 10 times, and the tenth is easily forgiven because of the youthful ardor of that bright face and that bright talent. [10 Nov 1989]
    • The Globe and Mail (Toronto)
  17. Age in Being 17 comes in awkward bursts, and yet the film moves sublimely. Director Téchiné, 73 years old, is wise beyond his years.
  18. Spike Lee's voluminous "When the Levees Broke" proved a thorough indictment, a compilation of tragic and appalling facts encyclopedically catalogued. By contrast, Trouble the Water (on Oscar's short-list in the best doc category) has a more personal focus and, although just as damning, manages to strike a more hopeful chord.
  19. It could be a cautionary fable about the predatory hypocrisy of any patriarchy, of any community predominantly defined by social conservatism.
  20. As for the winner and new champion, it has to be Kuosmanen, who never met a boxing-film cliché he couldn’t discreetly avoid.
  21. Though Burton's version is faithful, the filter of his sensibility has turned it into another of his necrophilic creepshows.
  22. The film’s own unhurried pace might frustrate the popcorn crowd, but it is the blasé, blank-faced unconcern for expediency from judges, prosecutors and bailiffs that should prove much more infuriating.
  23. The film is so incessant on bolstering Cave’s repute and noble struggle with the art of songwriting that it can’t help but seem bloated and self-important. Sometimes seriousness should speak for itself.
  24. At best, the humour in Election is perceptive, nasty, pointed, and lets no one off its barbed hook, not even the audience. In other words, it's a lovely piece of satire, made all the more relevant by the setting.
  25. 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.
  26. Like similar English comedies, it also teeters on the mawkish.
  27. A beautiful, probing art documentary.
    • 82 Metascore
    • 75 Critic Score
    Muylaert’s is attuned to matters of social stratification and economic mobility, and the manner in which Brazil’s leisure class is propped up by the undervalued exertions of domestic labourers.

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