The Telegraph's Scores

  • Movies
For 984 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 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Everybody Wants Some!!
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 67 out of 984
984 movie reviews
  1. Blade is arguably too much of a good thing. But hey, that’s immortality for you.
  2. The odd scenarios keep coming, fast and thick. Phantom Thread is built along the theoretically familiar lines of gothic romance – if you had to pick a predecessor, it would probably be Hitchcock’s Rebecca – but it’s very hard in the moment to work out where on earth it’s going, or even how conventionally romantic Reynolds and Alma’s relationship actually is.
  3. Shot and edited by Spielberg and his team in less than six months, The Post is very evidently a strike-while-the-story’s-hot kind of project, and it finds the master filmmaker at his most thrillingly supple and intuitive.
  4. Mudbound’s brutal climax is a shock and an affront in all the ways it must be – and though the film is a little wobbly up front, it’s fully worth wading through.
  5. It’s here to burnish one performer’s legend while laying the foundations of another’s. But there’s still lots of fun to be had in its twisting, telescoping hall of mirrors.
  6. It feels like a sheepish feature-length retraction of the franchise to date. It’s consistently embarrassing to watch, and features plot holes so yawningly vast they have a kind of Grand Canyon-like splendour: part of you wants to hang around to see what they look like at sunset.
  7. Nodding in that direction without going for broke, the film becomes an open-ended saga about rejecting family to pursue your own independent path, and keeps us wondering just how much scorched earth – or flesh, for that matter – Thelma intends to leave behind.
  8. A shade more playfulness would have gone a long way. This Orient Express clatters handsomely along, but I left the cinema wishing it had had the nerve to jump the rails.
  9. Paddington was uncommonly charming and Paddington 2 is very nearly as good.
  10. Stuhlbarg, who’s a treasure throughout, gets a fatherly monologue towards the film’s end that’s so observantly and tenderly performed, you can barely catch your breath. It’s one beautiful moment in a film that’s filled with them – gone in a heartbeat, but leaving the kind of ripples that reach across a lifetime.
  11. Director Christopher Landon, a veteran of the Paranormal Activity series, keeps the energy levels so peppy and the twists coming so unflaggingly, you barely have time to lodge any complaints.
  12. Overegged is the word – there was enough conviction in Radcliffe alone to pull the story through these straits.
  13. Geostorm’s disasters are just barrages of drab, anonymous digi-porridge, with a very occasional unhinged flourish thrown in, such as a stadium that’s struck by lightning and immediately explodes.
  14. The greatest trick this studio wants to pull, at this point, is to make more of the same feel either exhilaratingly fresh, or sufficiently retro-inflected to qualify as a nostalgia trip. As both, Thor: Ragnarok counts as some kind of double peak.
  15. The Snowman goes wrong quickly, permanently, and in a spiral, turning into a nonsensical nightmare of Scandi-noir howlers from which you sometimes feel you may never awaken.
  16. Una
    Una is a sparse, icy film fighting a little too hard against the fact that it used to be a play.
  17. That Blade Runner 2049 is a more than worthy sequel to Scott’s first film means it crosses the highest bar anyone could have reasonably set for it, and it distinguishes Villeneuve – who’s masterminded all of this, somehow, since making Arrival – as the most exciting filmmaker working at his level today.
  18. The whole thing reads as an indictment of the sort of upper class upbringing that Milne's children's books idealised, with only paid employees offering worthwhile parental affection.
  19. This crazily overlong and tiresome follow-up...doesn’t seem to have the first idea what to do with itself – not least when it comes to its much-vaunted all-star cast, the majority of whom are barely even in it.
  20. The whole package is still charming on its own cosy terms – the film equivalent of a loveable old hound that fetches your favourite slippers, rolls over for a tickle, curls up on your feet, contentedly passes wind, then nods off.
  21. The canon of Alzheimer’s films doesn’t lack for performances piled up with compassion and fine-grained observation, from Iris all the way to Still Alice. But as their faded Winnebago wends its way to the coast, Ella and John show there’s room for two more.
  22. Frears’ film is all nostalgia and inertia – a tale ablaze with historical import and contemporary resonance, reduced to commemorative biscuit tin proportions.
  23. Scrambling to keep up is part of the fun, but nowhere near as much fun as the parts where the film settles on a good idea for a set-piece and just gallops with it.
  24. American Assassin seems to have a certain target audience in mind, and it’s probably not one you’d want to be considered a part of.
  25. It all makes for soaringly satisfying viewing, yet the satisfaction comes from blistering performances and virtuosic screenwriting, and absolutely nothing else.
  26. Human Flow makes a virtue of its vastness, creating an epic tapestry of souls that stretch from as far away as Syria, Kenya and Burma to the Calais ‘Jungle’ encampment on Britain’s doorstep.
    • 63 Metascore
    • 80 Critic Score
    The Limehouse Golem may be hokum, but it’s glorious hokum that brings something fresh to the stale old cadaver of Victorian melodrama.
  27. It
    As a rattling ghost-train ride through sewers and derelict houses even David Lynch would think twice before exploring, the film toot-toots its way around at often deafening volume, but settles for doing only partial justice to King’s epic ambitions. Perhaps Muschietti has more of these stored up for the sequel, once an audience has gained faith that the scary stuff – petrifying, when it peaks – is well and truly in hand.
  28. A sick joke, an urgent warning and a roar into the abyss, Mother! earns its exclamation mark three times over and more.
  29. It’s a hectic, sour and muddled film – a flailing counterfeit of satire that keeps slipping on its own banana skin supply, and never remotely gets to grips with what it thinks it’s sending up.

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