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. A bold, raw, bordering-on-manic mashup of Eyes Wide Shut, Ivans XTC and HBO’s Entourage, the new thriller-cum-satire The Beta Test is here to test your limits.
  2. Even hardened cynics will embrace the cliché – yep, you will laugh, you will cry.
  3. A very funny, very unusual ensemble comedy that falls somewhere between slapdash and brilliant, an improvised comedy with more hits than misses. It's also an oddly touching tribute to the joys of show biz.
  4. What’s admirable about the film is how Driver gives the cross-pollinating forces of music, media, fashion and art such concise, firsthand exploration.
  5. All the kids here are terrific, significantly better than the actual movie that surrounds them. Although ostensibly fashioned by Abrams, it's really a summer-weight Spielberg yarn.
  6. Sumptuous and schmaltzy, Steven Spielberg's First World War drama, War Horse, is a strange beast of a film.
    • 72 Metascore
    • 88 Critic Score
    Paul Sylbert's production design is handsome, William A. Fraker's cinematography is beautiful and Dave Grusin's music winning. All in all, Heaven Can Wait is a fantastic fantasy. [28 June 1978]
    • The Globe and Mail (Toronto)
  7. The structure of the film mirrors the changes in the joke which in turn reflect the moral of the story -- hey, it's all a matter of perspective.
  8. It's definitely a Diablo Codyesque cut above the norm – the wit can sometimes feel contrived but at least there's wit to be found.
  9. This carefully massaged doc, with its spectacular aerial views of the landscape and the hunt, is a heartwarming story about perseverance and talent – if you believe it.
    • 72 Metascore
    • 63 Critic Score
    But then, just as quickly, Jesse is back in the present-day trying to build an escape route to a new life. Without Walter, he is just another manchild with a gun and a pile of money in a garbage bag. Sometimes, the past is the past and it really is dead.
  10. The complications of its story are found in the deep complexities of emotions and family relationships.
    • 72 Metascore
    • 75 Critic Score
    Armadillo is a work of stunningly difficult filmmaking, going out on patrol with the soldiers and diving for cover amid the pop of bullets and blasts of artillery.
  11. 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)
  12. In its attempts to revisit the original film’s discrepancies, DaCosta’s film ends up only retracing its narrative inconsistencies with full force and even deeper perplexity. Gone is the alluring entanglement of erotics and fright, replaced here by flat characters limply stumbling over a script intent on hitting us over the head with its social commentary.
  13. Through deft editing and a keen sense of detail, Baichwal manages to compress the case of Johnson vs. Monsanto Company into a superbly paced, tightly wound thriller.
  14. Daley and Goldstein aren’t here to reinvent. They love the tropes too much. It’s that fondness for what they mock with so much silly and snappy humour that makes Honor Among Thieves so charming. That affection is obvious especially when they punch up the familiar beats with inventive action and uncommonly stylistic direction.
  15. Spry, entertaining documentary.
  16. A tender tale of semi-triumph.
  17. Should be a brilliant picture, one last testament to the intertwined sensibilities of two brave artists. Should be, but isn't.
  18. While the initial sequence is glorious, the last is a shambles.
  19. The embodiment of the very message it so modestly conveys -- it's the accomplished little guy we fervently root for.
  20. Isn't really a dull film so much as an oddly quaint one that seems to find a comfortable perspective about drastic circumstances.
  21. Aster’s considerable discipline in matters of plot, acting, and exactingly manicured mise-en-scène resulted in a film that, for all its shocks and bravura performances, felt a little too controlled, as if its borderline braggadocious style was compensating for a lack of genuine terror.
  22. Dial your expectations to moderate, burrow in for the duration, and you won't be disappointed - it ain't exactly springtime, but there are worse things than an amiable outing on a winter's night.
  23. The film manages the extraordinary feat of forcing us to empathize simultaneously with both the potential victim and the potential villain.
  24. In a more controlled and less punishing film, Lawrence’s deeply committed performance would be the discussion of the year. Yet she has tossed herself to the wolves here, the star provided no care or cover by her director. What is the point in going so raw, so feral, if the result is so scattered, so interminable, so irredeemably silly?
  25. Arnett delivers something warm and genuine here, especially every time he’s paired against Dern, who perhaps knows this territory better.
  26. This is an affecting picture that leaves the viewer as wrung out as the protagonist. No doubt you'll be seduced but, in the end, you may also feel abandoned.
  27. Normally, such saccharine inspiration only manages to clog the heart, not warm it. But there's a true original in this den of clichés and her name is Keke Palmer.

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