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. Watching a film knowing it will be the last time you see a true talent immortalized on screen is a wildly moving experience. And with Ma Rainey – a film that is stacked with talent, chemistry and life – fans of Boseman couldn’t ask for a better goodbye.
  2. Simply but smoothly animated, and featuring no dialogue whatsoever, director Pablo Berger’s film is a charming fable that rides the line between sentimentality and schmaltz just right.
  3. If everyone in One False Move keeps making mistakes, there are no false moves from the technicians or actors; the only flaw is the slight taint of convenience that attends the plotting of so many contemporary thrillers. But the taint is superficial - it's eventually overwhelmed by the smell of corruption, the odour of pain, and the stench of hopelessness. [4 Sept 1992]
    • The Globe and Mail (Toronto)
  4. Director Morgen is a bit messy with his timeline and his relentless insect photography really bugged me. But the biggest nit to pick is with Philip Glass's intrusive, crazily grandiose score.
    • 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.
  5. The entire production entertainingly coalesces into part concert doc, part cultural artifact, part “gotcha!” stunt, and part meditation on the fickle, fleeting nature of creativity.
  6. A portrait of America that is devastating and freeing, bursting with sorrow and empathy.
  7. Director Maria Sodahl tracks the couple’s story over the course of only one Christmas break, but the film is more a chronicle of one family’s entire existence. Skarsgard, by the way, is typically excellent – it’s just that he mostly, and graciously, cedes the screen to Hovig, who is given much more to do and handles it with aplomb.
  8. The feeling is like a warm homecoming.
  9. That it’s unsettling not just because of the contentious moral context underlines just how radical any realistic depictions of female desire and sexual experience still are.
  10. 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.
  11. 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.
  12. Both Colm’s initial rejection of Padraic and Padraic’s final crazed reaction are not the stuff of realism or reason but of fairy tales and nightmares, yet Gleeson and Farrell make the film a delight.
  13. Adapted with great warmth and wit, and with as much of Austen’s crackling dialogue as his own, Stillman shapes lean Austen descriptions such as “He is as silly as ever” into superb character bits for the preposterous twit Sir James Martin (Tom Bennett).
  14. A terrifying, pitch-black kind of horror movie that takes up residence in your mind for days, even weeks later – but it is also a family film.
  15. Listen to Me Marlon is an offer so intimate that no film fan should refuse.
  16. Though not as memorable as the series on which it is based, it does the job as big-screen entertainment.
    • The Globe and Mail (Toronto)
  17. A fantastic film.
  18. The whole ensemble has a hoot with this material, and their joy is contagious.
  19. At first startling, even disengaging, that strange style eventually dovetails with the awful substance.
  20. 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.
  21. Ledger proves what we've suspected all along -- this is his picture, and he steals it brilliantly.
  22. Might be the best Spider-Man film ever made.
    • 87 Metascore
    • 88 Critic Score
    This excellent British film is an eerie, thoroughly engrossing thriller about the disappearance of a youngster and the events that follow when a policeman goes to a small, privately owned island to investigate. [23 Jan 1988]
    • The Globe and Mail (Toronto)
  23. There is as much wit as there is wretchedness, the director having no trouble finding the human comedy scratching beneath the title tragedy.
  24. 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.
  25. An astonishing multimedia diary.
  26. It may well be the ultimate family picture of this or any year. [22 Nov 1996, p.D2]
    • The Globe and Mail (Toronto)
  27. Reportedly, after seeing the film, rapper Eminen is anxious to play a wheelchair athlete in a coming movie.
  28. When it came to describing what was happening to him, Ebert was forthright, clear-eyed and admirably free of neurosis and self-pity.

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