The Globe and Mail (Toronto)'s Scores

For 7,291 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 3 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Red Turtle
Lowest review score: 0 The Mod Squad
Score distribution:
7291 movie reviews
  1. 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.
  2. Thanks to Iseman and Kwiatkowski’s heartwarming chemistry, Collins’ sharp dialogue and Vuckovic’s pointed direction, you find yourself running in step with two young women who are smart, interesting, brave and brilliantly capable. And that makes confronting the realities of their mission a little less terrifying.
    • 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.
    • 74 Metascore
    • 88 Critic Score
    It’s a movie in which you can feel the spirit of the material infusing the filmmaker both as an artist and as a human being, and what results is that thing that occurs when even the simplest of songs sends sparks to the soul.
  3. The audience is invited to celebrate the purified wonder of youth and the dazzle of life’s invisible indispensables.
  4. “I’m selective about my audience,” says the singer. “I don’t need everybody to like me.” With a dour, sophisticated film that won’t be to everyone’s taste, writer-director Nicchiarelli seems to have taken those words to heart.
  5. Tense car chases, action scenes handled with crisp panache and Canadian actor Ryan Gosling channelling Steve McQueen as an existential wheel man add up to make Drive one of the best arty-action films since Steven Soderbergh's "The Limey."
  6. As Lou, an almost prissily natty numbers runner certain that everything - even the ocean - has deteriorated, Burt Lancaster gives the performance of his life. [17 Apr 1981]
    • The Globe and Mail (Toronto)
  7. From its joyful and exuberant opening half to a late-game moment of deep and sombre introspection, Lee’s version of American Utopia is thoughtful pop performance art captured with the propulsive power of cinema.
  8. The new film is the rare sequel that truly merits its existence, updating and expanding the themes of the 1982 original to bring them from the 20th century into the 21st. Yes, Blade Runner 2049 is one hard-working and deep-thinking replicant.
  9. His characters are the brightest, slickest people you will ever meet, and whether you’re meant to love or loathe them, Sorkin has a genuine talent for ensuring his heroes and villains will forever stick in your head, wandering the recesses of your mind in an eternal walk-and-talk formation.
    • 72 Metascore
    • 88 Critic Score
    Moselle believes in the power of girls. The friendships through which Camille learns how to be loved become the anguish that breaks her heart and the forgiveness that humbly heals her. And resiliently they soar through the city, a harmony of wheels on pavement.
  10. Part siege movie, part rural drama, part gore-soaked freak-out, Bacurau is the one instance where it’s the destination, not the journey, that matters.
  11. It may well be the ultimate family picture of this or any year. [22 Nov 1996, p.D2]
    • The Globe and Mail (Toronto)
  12. A non-stop, shoestring trip with more adventures and a helluva lot more smarts than you'll find in most American movies...All in all, there's more plain fun to be had here in 10 minutes than in a whole hour on the road with that jerk Indiana Jones.
  13. Nell is a good movie made great by the lambent presence of Jodie Foster. [23 Dec 1994]
    • The Globe and Mail (Toronto)
  14. Clifton Hill becomes just as thrilling and disturbing as its titular strip of haunted houses and fading-fast motels.
  15. Campbell is tasked with carrying much of the film’s action and dialogue -- including two seemingly rambling but actually profound monologues delivered to unseen audiences in a nondescript bar -- and easily commands the screen.
  16. 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.
  17. This story of personal redemption tacks drama by the nautical mile. "The ocean is always trying to kill you,” says Edwards, a woman like most who knows about facing high odds and salty conditions.
  18. It's not only packed with high-toned classical and contemporary cultural allusions, but manages to wear its popcorn inspirations on its sleeve.
  19. 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)
  20. A beautiful, probing art documentary.
  21. It is only when Diggs and Casal near the end of the film − including a too-convenient-by-half encounter with a cop − that the effort’s ambition in creating a treatise on all of Western society’s ills begins to crack. But until then, Blindspotting possesses enough flair, passion and sweat to put up one hell of a fight.
  22. An intense new film that pivots on a tremendous, teeth-gnashing performance from Law as a 1980s father whose aspirations of upward mobility threaten to destroy his life.
  23. Without “spoiling” it, it’s a film that at least opens up a possibility for change, instead of providing another rote reshuffling of power from the Black Hats back to the White Hats.
  24. Yes, The King's Speech is a lively burst of populist rhetoric, superbly performed and guaranteed to please even discriminating crowds.
  25. Turtletaub has some difficulty ending the film, which resolves itself with one too many closeups of Macdonald gazing out at the world, whether from a lakeshore or a train window, as both the script and its director struggle to figure out what happens next.
  26. It is a love story, as beautiful as it is devastating.
  27. Once you overlook the laborious contrivance of Jerry's background, Down and Out in Beverly Hills is a sharp, sweet comedy of affluent manners. [31 Jan 1986]
    • The Globe and Mail (Toronto)

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