The Telegraph's Scores

  • Movies
For 457 reviews, this publication has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 0.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 45 Years
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 35 out of 457
457 movie reviews
  1. The world of Mad Max has always been welded together from bits of whatever was lying around, and the films’ brilliance has always been in their welding – the ingenious ways in which their scrap-metal parts were combined to create something unthinkable, hilarious or obscene, and often all three.
  2. Interstellar is Nolan’s best and most brazenly ambitious film to date.
  3. It’s extremely moving in the gentlest, most linear way, and the other performances are sterling, too.
  4. This is a masterpiece of serious cinema; long, slow and grave as the grave.
  5. If films were gestures, this one would be a perfectly timed shrug, with the smile to match.
  6. Kore-eda has crafted a piercing, tender poem about the bittersweet ebb and flow of paternal love, and his status as Ozu's heir becomes ever more assured.
  7. It’s an astonishing achievement. Linklater and his cast, who helped refine the director’s script, perfectly execute how long it takes us to become the lead characters in our own lives, and how fumblingly the role is first assumed.
  8. Strickland has made something uniquely sexy and strange, built on two tremendous central performances and a bone-deep understanding of cinema’s magic and mechanisms.
  9. A science-fiction thriller of rare and diamond-hard brilliance.
  10. It’s beautifully organised, and there’s no way you could possibly watch it without learning all kinds of stuff.
  11. At first, watching Pacific Rim feels like rediscovering a favourite childhood cartoon – but del Toro has flooded the project with such affection and artistry that, rather than smiling nostalgically, you find yourself enchanted all over again.
  12. The film is stupendous: as antic as Boogie Nights and Punch-Drunk Love, but with The Master and There Will Be Blood’s uncanny feel for the swell and ebb of history.
  13. It’s wonderful.
  14. Hyper-violent it may be but there is beauty in its brutality.
  15. Like Someone in Love, is another miracle at close quarters. Its subject is the impossibility of intimacy in the modern world: chewy stuff, to be sure, but Kiarostami explores it with a depth and delicacy that recalls the Japanese master Yasujiro Ozu.
  16. Every shot of Stray Dogs has been built with utter formal mastery; every sequence exerts an almost telepathic grip.
  17. Where we might have expected a gentle or rueful coda, we get a battle of the sexes as blistering as the best of Tracy/Hepburn, and infinitely more frank.
  18. Despite borrowing cleverly from the best, It Follows still manages to feel like no other example in recent years - tender, remarkably ingenious and scalp-pricklingly scary.
  19. Carol is gorgeous, gently groundbreaking, and might be the saddest thing you’ll ever see. More than hugely accomplished cinema, it’s an exquisite work of American art, rippling with a very specific mid-century melancholy, understanding love as the riskiest but most necessary gamble in anyone’s experience.
  20. As hot and wet as freshly butchered meat: every second, every frame of its three-hour running time is virile with a lifetime’s accumulated genius.
  21. A shimmering coup de cinema to make your heart burst, your mind swim and your soul roar.
  22. Elicits from McQueen a directing job that's compellingly humble but also majestic, because his radical showmanship is turned to such precise, human purposes.
  23. This is instant A-list Coens; enigmatic, exhilarating, irresistible.
  24. The film comes and goes without commotion, but its magic settles on you as softly and as steadily as dust.
    • 88 Metascore
    • 100 Critic Score
    What makes the film so special is that Ford and Tommy Lee Jones (as his chief pursuer, US Marshal Samuel Gerard) are such beautifully matched adversaries.
  25. Glazer’s astonishing film takes you to a place where the everyday becomes suddenly strange, and fear and seduction become one and the same.
  26. The movie is hauntingly romantic at heart, in the best spirit of a Gothic fairytale, but without the harsh shadows or hard edges.
  27. This story is about whether secrets can be survived, whether the knowing or not knowing is more injurious. Haigh’s very fine, classically modulated film keeps these questions alive until literally its last shot, and lets them jangle their way through you for days afterwards.
  28. It is one of the year’s very best films, a great, rumbling thunderclap of genius.
  29. Mikkelsen, who is not given to sympathetic roles, has never been better. This is cinema that sinks its claws into your back.

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