The Globe and Mail (Toronto)'s Scores

For 7,293 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:
7293 movie reviews
  1. There's a lot to like in this film. As in the original, it has more than a few echoes of Animal Farm in its portrayal of humanity as the exploiter species. It respects both its child audience, by permitting Babe and his sunny decency to win out, and its adult audience, by generating more wit than the average dozen Hollywood films.
    • The Globe and Mail (Toronto)
  2. A splendid adventure sure to thrill children and fantasy buffs, while leaving everyone else passably entertained.
  3. There’s nothing subtle about The Finest Hours, but much that is satisfying.
  4. As for the winner and new champion, it has to be Kuosmanen, who never met a boxing-film cliché he couldn’t discreetly avoid.
  5. It's a film that will both captivate and divide audiences.
  6. While the visuals aren't nearly as eye-popping as those of the underwater movies, the film is more inspiring thanks to its human heroines.
  7. Despite Marber's sardonic wit and Nichols's intelligent direction, the film winds up in the ironic position of practising exactly what it preaches: Closer invites and even gains our intimacy, only to finish by driving us ever farther away.
  8. Films about single film scenes, however, represent unexplored territory. Which is why 78/52 is such an enticing prospect – a deep dive into one of the most influential moments in cinema history: the shower scene in Alfred Hitchcock's Psycho.
    • 57 Metascore
    • 75 Critic Score
    Permanent Midnight is a slick, entertaining, show-biz saga whose worst fault may be that it has a happy ending. Stahl has not only recovered from debauchery, he's making a ton of cash with his book and the movie. In fact, this may be as quintessential a morality tale for the nineties as the Monica Lewinsky story. [25 Sep 1998, p.D9]
    • The Globe and Mail (Toronto)
  9. [A] tender but untimid drama.
  10. Tetro is Coppola's best film since Apocalypse Now because the filmmaker has abandoned conventional drama – what for him had become a straightjacket – indulging in a collage style that allows him to honour favourite filmmakers.
  11. In its mocking but acutely observed style, Hobo is a well-designed cinematic mess: There are whiplash jump cuts, patches where the sound almost disappears, and the whole thing is projected in a queasy, faded Technicolor.
  12. Cronenberg offers a light touch to the material, spiking the deeply depressing dystopia with a sibling-rivalry battle royale that eagerly, if sometimes wobblily, shifts between sharp humour and slippery sentimentality.
  13. Patricio Guzmán's documentary, Nostalgia for the Light, pays equal attention to the astronomers and searchers, regarding their quest as the same – a search for life.
  14. Whatever you normally do during the rousing finale of a Rocky movie. It will feel familiar, but just go with it.
  15. Alice Tate seems at first to be no more than a grimly sweet nothing, but she evolves into a giddily sweet something. So does her movie. [25 Jan 1991]
    • The Globe and Mail (Toronto)
  16. Peaches Does Herself is constantly inventive, from the Road Warrior/Rocky Horror fantasy costumes, to the hump-happy choreography.
  17. Animal Kingdom isn't perfect: Some performance moments are over-ripe, and there's an episode of arbitrary cruelty that's excessively creepy.
  18. For all its ballyhoo'd full access to Vogue's inner workings, the movie's cinéma-vérité approach feels perilously close to advertorial.
  19. Maybe arguing the merits of a quote-unquote bad movie through the means of an imperfect documentary is the only option that makes sense. I have the distinct feeling, though, that somewhere in Europe, Verhoeven is laughing his ass off.
  20. A bold, if sometimes preachy, film that is stylistically daring, improbably entertaining and politically supercharged.
  21. What really distinguishes it from any number of drug-escapade stories is the unusual and welcome sense of Dostoyevskian moral gravity of the narrative.
    • 49 Metascore
    • 75 Critic Score
    The quickest and easiest way to humanize an unlikeable movie character is to give him a lovable dog, and so it goes with Riddick.
  22. The best Brit noir since "Croupier" is a complex, marvellously twisty thriller.
  23. In God's ghetto, as in so many of the world's forsaken places, warring armies of infants brandish their weapons of self-destruction, while politicians bluster and inspectors sleep.
  24. Myers's sheer fertility of invention is of a different order, and even if he misses as often as he hits, he's definitely a swinger.
    • 47 Metascore
    • 75 Critic Score
    Music, naturally, is a big part of this movie -- Disney has a soundtrack to sell -- with both Cyruses, Taylor Swift and Rascal Flatts performing.
  25. 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.
  26. Precious is a bit like having a piano dropped on your head: messy but memorable.
  27. Cody’s third-act twist threatens to unravel Theron’s hard work; yet, somehow, the power of Tully remains firmly in Theron’s skilled and capable hands.

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