Globe and Mail

Tomatometer-approved publication
Rating Title/Year Author
2.5/4 Harpoon (2019) Barry Hertz Grant adds lots of fisticuffs and gore to the proceedings, but it's Gelman's voice that answer's the narrative's numerous SOS calls. EDIT
Posted Oct 11, 2019
2.5/4 Gemini Man (2019) Anna Swanson Gemini Man is a uniquely visually thrilling film backed by Lee's undeniable commitment and ambition. EDIT
Posted Oct 11, 2019
3/4 Dolce Fine Giornata (2019) Anne T. Donahue Dolce Fine Giornata is a beautiful movie with an interesting and important perspective, but its message would be even more effective if it was navigated through characters you really got to know. EDIT
Posted Oct 11, 2019
0/4 Lucky Day (2019) Barry Hertz The film is crassly violent, inexcusably sexist, horribly racist, rampantly homophobic - and that's just Crispin Glover's character. EDIT
Posted Oct 10, 2019
2/4 Matthias & Maxime (2019) Barry Hertz Unfortunately, the new film Matthias & Maxime arrives lacking much of the emotional urgency of the Dolan who once captured the international art-house crowd, feeling provincial in more ways than one. EDIT
Posted Oct 10, 2019
3.5/4 MS Slavic 7 (2019) Barry Hertz Campbell is tasked with carrying much of the film's action and dialogue... and easily commands the screen. EDIT
Posted Oct 10, 2019
3/4 Sometimes Always Never (2018) Anne T. Donahue It's no real murder-mystery, but it does pose questions that transcend who did what to whom and when. One of which being whether or not you can really play "jazz" in Scrabble. EDIT
Posted Oct 4, 2019
2.5/4 In the Tall Grass (2019) Barry Hertz In the Tall Grass is a case of unchecked excess - more blood, more jump-scares, more mythology that goes not much of anywhere. EDIT
Posted Oct 4, 2019
3.5/4 Where's My Roy Cohn? (2019) Brad Wheeler Where's My Roy Cohn? is brash and relentless, much like the man himself. EDIT
Posted Oct 2, 2019
3/4 First Love (2019) Barry Hertz Your Miike mileage may vary - but rest assured, there's no barf bag required. EDIT
Posted Oct 2, 2019
3.5/4 Monos (2019) Barry Hertz Monos sinks you into its mud until the dirt stuffs your mouth. You won't be able to breathe - but you'll be thanking Landes for the cinematic suffocation all the same. EDIT
Posted Sep 26, 2019
2/4 Zeroville (2019) Stephen Rodrick To say it is for Franco completists only seems just. EDIT
Posted Sep 22, 2019
2.5/4 Downton Abbey (2019) Nathalie Atkinson Between the tiaras, the tea trays, the synchronized curtsies, meaningful glances, and interludes of fisticuffs and tweed, fans of the long-running series will feel like they've slipped into a welcome warm bath. EDIT
Posted Sep 19, 2019
3.5/4 Riot Girls (2019) Anne T. Donahue At least in Riot Girls, we have Nat and Scratch to keep us afloat. But you do leave the film asking yourself what any of us are doing to fight against those same things. EDIT
Posted Sep 19, 2019
3/4 Before You Know It (2019) Brad Wheeler The dialogue is clever and the premise witty. It's a New York-y film that has the zip of a farce, without all the nuttiness. (There's a little nuttiness.) EDIT
Posted Sep 18, 2019
2.5/4 () Brad Wheeler With her narrative feature debut, the documentary filmmaker Rama Rau offers an edgier after-school special that is nevertheless worth seeing for Stone alone. EDIT
Posted Sep 18, 2019
4/4 Ad Astra (2019) Barry Hertz I still left Ad Astra feeling the best kind of dizzy - my perspective shifted, my footing unfamiliar, the world something imperceptibly new. EDIT
Posted Sep 18, 2019
Camp Rock 2: The Final Jam (2010) Andrew Ryan Like the first film, Camp Rock 2 is squeaky-clean family entertainment. EDIT
Posted Sep 13, 2019
2.5/4 Ford v Ferrari (2019) Barry Hertz Mangold's talent for action comes alive, though, during the thrilling racing sequences, and Tracy Letts is having lots of fun with his portrayal of Henry Ford II. Yet the overall production is too cautiously steered. EDIT
Posted Sep 13, 2019
1.5/4 Freaks (2018) Sarah-Tai Black Likewise, the movie seems restrained by its budget, which is unfortunate because the imagination it shows its promising. It's only in materially realizing itself where it falls short. EDIT
Posted Sep 12, 2019
2/4 Saint Maud (2019) Barry Hertz That's the basic outline of Rose Glass's feature directorial debut, a thriller that has one thing on its mind - the road to fanaticism leads directly to Hell - but doesn't quite provoke as much as it thinks it does. EDIT
Posted Sep 12, 2019
4/4 Uncut Gems (2019) Barry Hertz A 134-minute anxiety attack disguised as a movie, Benny and Josh Safdie's Uncut Gems is a New York trash-terpiece. EDIT
Posted Sep 12, 2019
2/4 () Barry Hertz There's a neat moment where the film's hero puts on a yarmulke and teffilin like he's donning supernatural battle armour, but mostly The Vigil feels like a novel short film stretched out to feature length. EDIT
Posted Sep 12, 2019
1.5/4 Lucy in the Sky (2019) Barry Hertz Noah Hawley's directorial debut may have started out as a feminist-forward film decrying the fact that women have to work five times as hard to succeed in the workplace, but it ends up being a movie whose message boils down to, "Ladies be crazy." EDIT
Posted Sep 12, 2019
3/4 () Barry Hertz Balagov displays the cinematic skills of an auteur at least twice his age, and both lead actresses are captivating. EDIT
Posted Sep 12, 2019
2/4 Joker (2019) Barry Hertz Honestly, I'm not sure what Joker is here for, other than to cause a clumsily manufactured uproar. EDIT
Posted Sep 12, 2019
2.5/4 The Laundromat (2019) Barry Hertz The Laundromat is more like the zippy comedy of The Informant!, but with Meryl Streep subbed in for Matt Damon. EDIT
Posted Sep 10, 2019
3/4 Official Secrets (2019) Brad Wheeler The end result is a professionally made film that is whistle-blowingly relevant, starring an excellent actress who successfully comes in from her Pride & Prejudice past. EDIT
Posted Sep 9, 2019
4/4 Marriage Story (2019) Barry Hertz This is hilarious, heartbreaking cinema - a work that will make you burst out laughing one moment, and leave you tearing your hair out the next. EDIT
Posted Sep 9, 2019
1.5/4 The Goldfinch (2019) Barry Hertz The Goldfinch should have never flown away from its literary perch. EDIT
Posted Sep 9, 2019
3/4 Hustlers (2019) Sarah-Tai Black Without treading into over-sentimentality or, worse, hollow signalling to the most well-trod tropes of female friendship on screen, Hustlers takes a more organic view of the mercurial intimacies between its lead women. EDIT
Posted Sep 9, 2019
3/4 The Antenna (2019) Barry Hertz he Antenna proves a worthy successor to the work of David Cronenberg, Ben Wheatley and the many other filmmakers who delight in the meaty material of rancid subjects. EDIT
Posted Sep 9, 2019
2.5/4 Synchronic (2019) Barry Hertz Once the big twist kicks in, there's plenty of gritty fun to be had, but patience is a hard-won virtue in genre filmmaking. EDIT
Posted Sep 9, 2019
3/4 Jallikattu (2019) Barry Hertz Still, when Jallikattu lets it rip, it's as exciting and unusual an experience as you're likely to get this year. Grab it by its horns and don't dare let go. EDIT
Posted Sep 9, 2019
3/4 Jojo Rabbit (2019) Barry Hertz Jojo Rabbit excels with at least a sincerely attempted - if not exactly precise - balance of humour and horror, absurdity and tragedy. EDIT
Posted Sep 9, 2019
3.5/4 Knives Out (2019) Barry Hertz [A] dizzy, politically astute murder-mystery comedy that, while not reinventing the genre, certainly hits all the expected beats with flair. EDIT
Posted Sep 9, 2019
3/4 Dolemite Is My Name (2019) Barry Hertz But beyond that bit of inventive meta-business narrative, Dolemite Is My Name feels less forward-thinking and more shaggily comfortable, running through the let's-put-on-a-show formula with little flair, albeit a whole lot of spirit. EDIT
Posted Sep 9, 2019
3.5/4 A Beautiful Day in the Neighborhood (2019) Barry Hertz Hanks is, not surprisingly, excellently cast, but it's Heller's direction and inventive aesthetic instinct - everything is washed out browns, with the exception of a moving blue-lit finale - that sell the work so well. EDIT
Posted Sep 9, 2019
4/4 The Two Popes (2019) Kate Taylor Hopkins and Pryce's finely tuned performances illuminate Benedict's shrewd intelligence and Francis's deep humility. EDIT
Posted Sep 9, 2019
3/4 How to Build a Girl (2019) Kate Taylor Yet, the film's delightful eccentricities... and its sharp take on the pretensions of London scene-setters make it ceaselessly entertaining. EDIT
Posted Sep 9, 2019
2/4 Once Were Brothers: Robbie Robertson and The Band (2019) Brad Wheeler "All the people were singing," but this film only listens to Robertson. EDIT
Posted Sep 9, 2019
3/4 Abominable (2019) Brad Wheeler Abominable has charms to soothe the savage child. EDIT
Posted Sep 9, 2019
3/4 Just Mercy (2019) Barry Hertz Yet Jordan and Foxx take the little material they're given and play it as deep as possible, turning in memorable, eventually gut-punching performances. EDIT
Posted Sep 9, 2019
3.5/4 Waves (2019) Barry Hertz Waves is as anxiety-inducing as any other journey into the dark and unknowable. EDIT
Posted Sep 9, 2019
4/4 () Kate Taylor With exuberant naturalism from its non-professional actors, and a standout performance from Kosar Ali as Rocks's best friend, the film covers the highs and lows of female adolescence with compelling sensitivity. EDIT
Posted Sep 9, 2019
2/4 Radioactive (2020) Kate Taylor The problem is not so much Satrapi's theatrical approach to the subject, which veers wildly from the overwrought to the dramatically compelling, as it is Jack Thorne's abysmal script. EDIT
Posted Sep 9, 2019
3/4 The Personal History of David Copperfield (2019) Kate Taylor The meta-fiction may be overdone, but that and the director's feeling for tone create the expansive atmosphere in which a talented multiracial cast lead by Dev Patel can master everything from pure melodrama to high comedy. EDIT
Posted Sep 9, 2019
2.5/4 () Chandler Levack This is a well-crafted, Bechdel-passing film that prioritizes an intersectional female friendship, yet Lilly remains nothing but our Trojan horse into the 1980s Ethiopian refugee crisis. EDIT
Posted Sep 7, 2019
3/4 () Brad Wheeler Despite the film's laudatory tone, a portrait of Foster is competently painted by the veteran documentarian Avrich. EDIT
Posted Sep 7, 2019
2/4 () Barry Hertz The finale is a gut-punch, but it arrives too long after Komasa has already exhausted most of his story's, and leading man's, energy. EDIT
Posted Sep 7, 2019