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. Sumptuous and schmaltzy, Steven Spielberg's First World War drama, War Horse, is a strange beast of a film.
  2. Although the subject, school bullying, is as fresh as today's headlines, the treatment isn't. Despite the efforts of an impressive cast, the film starts out stale and then just gets tedious.
  3. Director Cameron Crowe who, not having made a dramatic feature since his 2005 stinker "Elizabethtown," seems bound and determined to crank out a crowd-pleaser here.
    • 83 Metascore
    • 75 Critic Score
    Bausch's work, as performed by her dance company Tanztheater Wuppertal, is shot exactingly by Wenders, who captures everything from the largest gestures to the subtlest facial nuances in ways impossible in 2-D – and of course in far closer detail than seeing the dances performed live.
  4. Hergé was the pioneer of an even-handed style of cartooning with solid lines and no shading that became known as ligne claire, but there is a decided lack of clear lines in this erratic movie adaptation of his work.
  5. Not too surprisingly, Fincher doesn't bring his auteur A-game here, though his crafty B-game is better than most. As well, the break-out performance of Rooney Mara as the semi-feral computer hacker, Lisbeth Salander, gives the film a residue of authentic anguish.
  6. Dragonslayer documents what happened when California stopped dreaming.
  7. Like the recent Adam Sandler dud "Jack and Jill," a sizable chunk of Chip-Wrecked was shot on the newest ship in the fleet of a major cruise company – the ultimate in movie product placement!
  8. This movie wants to be a horse but, even measured in box-office millions, it's just another nag.
  9. This superb remake has the inevitable look of a period piece, a smoke-filled rendering of things past. However, thanks to Tomas Alfredson's direction, a taut screenplay, and a uniformly brilliant cast, the film also retains its contemporary relevance.
  10. Plays precariously close to an unfunny sociopathic case study.
  11. The movie rolls on, with more clever but increasingly repetitive action sequences that entertain, but drain the film of any credible sense of jeopardy.
  12. Add up these three intentions – the down-and-dirty tone, the tender and uplifting message, the starring vehicle – and the math ain't funny. Bottom line: This movie is a whole lot less than the sum of its parts.
  13. New Year's Eve. It's big and shiny and crowded and no matter how much you might look forward to it, it never lives up to the hype. The movie is even worse.
  14. At its simple core, Sleeping Beauty is a perfectly pitched chamber piece about the menace of voluntary oblivion.
  15. By Herzog's lofty standards, the result is mildly disappointing. The film lacks the sociological depth of "The Executioner's Song" or the emotional wallop of "In Cold Blood." But it sure is a surpassingly, and compellingly, strange tale.
  16. Here, in orderly fiction, the reverberations bring about the alignment of cultures, the meeting of minds and the comforting assertion that "our lives aren't that different." Maybe so, and the film deserves full marks for trying, at times movingly, to convince us. In the end, the argument is a little too neat to accept, but far too poignant to ignore.
  17. It may be a slim story, but its gentle humour, natural rhythm and above all authentic performances make Tomboy beautiful, intimate cinema.
  18. Essentially agenda-free, My Perestroika has the quality of a candid conversation with long-lost cousins from another country.
  19. 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.
  20. Almost everyone is scum. The venality spreads from the slums or favelas, up the ranks of local militias, crooked police and pandering politicians.
  21. The acting is superb, the settings are beautifully recreated, the dialogue crackles with occasional wit, but where's the juice? Although lovely to gaze upon, the whole thing feels a bit precious and porcelain, more teapot than sexpot.
  22. Ezra Miller's sneering, absurdly precocious evil-child performance makes him just another bad-seed horror villain.
  23. With elements of "A Star Is Born" and "Singing in the Rain," The Artist is a rarity, an ingenious crowd-pleaser.
  24. For the kids, the action is always lively and, for the rest of us, the dialogue has a witty and even caustic edge.
  25. The Muppet charm, always more at home within the intimate frame of a TV set, is gone here.
  26. As well as an engaging fable about a homeless orphan living in a train station, Scorsese's film is a richly illustrated lesson in cinema history and the best argument for 3-D since James Cameron's "Avatar."
  27. Pitt and Damon deliver the best lines (wisecracks about the food chain, predators and evolution, etc.) but their characters also represent most of us.
  28. It's the most jumbled and tonally confused movie yet.
    • 84 Metascore
    • 100 Critic Score
    Heartwarming, tragic and, at times, hilariously funny drama.

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