The Telegraph's Scores

  • Movies
For 767 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 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Yakuza Apocalypse
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 48 out of 767
767 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. The only way to understand it is to swim in it for yourself, feel your own heart braid around these two interwoven lives, and gaze up in awe at the silvery arc those falling stars trace across the sky.
  3. La La Land wants to remind us how beautiful the half-forgotten dreams of the old days can be – the ones made up of nothing more than faces, music, romance and movement. It has its head in the stars, and for a little over two wonderstruck hours, it lifts you up there too.
  4. It’s a weighty technical accomplishment – the extraordinary detailed motion-capture technology alone, which stretches Rylance’s human performance to giant-sized proportions, is river-straddling bounds beyond anything you’ve seen before.
  5. Interstellar is Nolan’s best and most brazenly ambitious film to date.
  6. Despite its well-worn ideas and themes, Gary Ross’s provocative, pulse-surgingly tense adaptation couldn’t feel fresher, or timelier.
  7. In emulating the two-strip Technicolor process, it creates a look that’s scratchy and primitive, but also, through the peculiar alchemy of Maddin’s craft, eerily rich and dreamlike, with the depth of an oceanic abyss.
  8. It’s extremely moving in the gentlest, most linear way, and the other performances are sterling, too.
  9. Joy
    Since Joy is a David O. Russell film, the presence of a) Lawrence and b) bizarre, fizz-popping explosions of catharsis are to be expected. But the ringmaster of The Fighter, Silver Linings Playbook and American Hustle seems to have mellowed a little, which means fewer outright belly laughs, but a more layered and involving emotional landscape.
  10. This is a masterpiece of serious cinema; long, slow and grave as the grave.
  11. As a writer, Kaurismäki has a precious knack for jokes that work beautifully in any language.
  12. You could also argue that this almost intentionally exhausting film is too much of a good thing. But there’s amazingly little of it you'd want to live without.
  13. If films were gestures, this one would be a perfectly timed shrug, with the smile to match.
  14. It’s flat-out hilarious – find me a funnier screen stab at Austen, and I’m tempted to offer your money back personally. Gliding through its compact 92 minutes with alert photography and not a single scene wasted, it’s also Stillman on the form of his life.
  15. 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.
  16. 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.
  17. At the root of that is Civil War’s greatest strength – and the reason it makes all thought of the recent Batman v Superman debacle evaporate on contact. The Russos’ film has an unshakeable faith in these decades-old characters: they’re not wrangled into standing for anything other than who they are, with no gloss or reinterpretation or reach for epic significance required. This is the cinematic superhero showdown you’ve dreamt of since childhood, precisely because that’s everything – and all – it wants to be.
  18. Moonlight, the new film from Barry Jenkins, is a nuclear-fission-strength heartbreaker. It’s made up of moments so slight and incidental they’re sub-molecular – but they release enough heat and light to swallow whole cities at a stroke.
  19. 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.
  20. A science-fiction thriller of rare and diamond-hard brilliance.
  21. It’s beautifully organised, and there’s no way you could possibly watch it without learning all kinds of stuff.
  22. Kaufman and Johnson tease out the possible causes and effects of Michael’s crisis with great imagination, tilting your sympathies so subtly as they do so that you don’t even feel it going on.
  23. Justin Kurzel’s blistering, blood-sticky new screen version of Macbeth unseams the famous Shakespearean tragedy open from the nave to the chops, letting its insides spill out across the rock underfoot.
  24. Incendies is no one’s idea of a joyful ride, but it’s a remarkable work, and its complex story etches itself on the memory.
  25. You just have to watch it, then grab a net and try to coax your soul back down from the ceiling.
    • 86 Metascore
    • 100 Critic Score
    The terror, panic and small town politics are all brilliantly done but this is also a film about bravery and friendship and the scenes in which the trio bond as they sit out at sea waiting to fight death itself are moving and witty.
  26. The movie’s invigorating discourse on sin, lust and love is propelled by a kind of Dionysian glee which keeps it airborne almost constantly.
  27. 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.
  28. Though it delves into the worst extremes of human ugliness, German’s film is exhilarating, moving, funny, beautiful and unshakeable – a danse macabre that whirls you round and round until the bitter end.
  29. 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.

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