The Telegraph's Scores

  • Movies
For 508 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 A Field in England
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 39 out of 508
508 movie reviews
  1. Wiese’s film is an efficient piece of work, competent as a film but blistering as an example of human rights advocacy.
  2. It’s a compact and obliquely moving film, deftly constructed to let the dying of the light arrive, not as sunset, but a kind of dawn.
  3. This is bewitchingly smart science fiction of a type that’s all too rare. Its intelligence is anything but artificial.
  4. This is another hugely admirable entry in the Dardenne canon: nothing all that new, perhaps, but as thoughtful, humane and superbly composed as we have, very fortunately, come to expect from them.
  5. Captain Phillips is a triumph of solid, professional and sometimes inspired film crafts, deserving of all the plaudits that come its way.
  6. A melding of old and new modes of animation, in which the attentive artistry of the past coexists with the hyper-detailed, computer-generated present.
  7. Tornatore may have hit a sticky wicket with his subsequent work, but he knew what he was doing here: warning us about the irrational lure of the filmed past, which is to say cinema itself, then ushering us grandly to our seats.
  8. Rush has sex, glamour, a fair degree of wit and a breathless, pedal-to-the-metal spirit. But its greatest achievement may be to underline that there are real men, all vulnerable flesh and blood, inside those infernal machines.
  9. I loved every minute of Filth, and couldn’t have stomached another second of it.
  10. It’s a critic’s instinct to auto-praise any blockbuster that tries to do something different, but Catching Fire is so committed to carrying on the fine work started by its predecessor that the applause flows utterly naturally.
  11. What we’ve seen since the beginnings of the Marvel serial in 2008 is an ongoing stretching: bigger casts, grander set-pieces and more intricate interplay between characters, with no clear end in sight. Ant-Man scuttles off in the other direction. Brisk humour, keenly felt dramatic stakes, and invention over scale. You know: small pleasures.
  12. Wright’s inkily beautiful, imaginatively structured picture - drama bleeds into newsreel and archive footage - is another excellent new film about the strange ways British landscapes (and here, seascapes) work on British minds.
  13. Allen’s ambitions with this taut, tart character study might not be stratospheric, but they’re at least moderate-to-high, and his degree of success is exciting.
  14. This cherishable Irish B-picture is one of those rare horror films with an unimprovable premise.
  15. The Butler might bite off more history than it can chew, but it packs a sustained emotional punch, more than a pinch of wit, and a superb performance from Whitaker as a man burning with passion beneath his immaculate, repressed exterior.
  16. Johnson and co-writer Mark Heyman may be exploring familiar territory but they do so with a warmth, subtlety and honesty that marks it out.
  17. This is a complex, bewitching and melancholy drama, another fearlessly intelligent film from Assayas.
    • 61 Metascore
    • 80 Critic Score
    While the plot is straightforward, characters are well-drawn, many defined by ironic delusions.
  18. An acutely compassionate account of unshakeable guilt.
  19. Writer-director Jeremy Lovering, in his feature debut, keeps a skilful handle on technique — his film is a calling card that could give you paper cuts.
  20. Coppola’s uproarious and bitingly timely film feels every inch a necessary artwork.
  21. The mood flits between solemn and rascally, and the pacing is measured: this is storytelling at a mosey rather than a trot.
  22. The World’s End is a fitting end to the trilogy: it is by turns trashy, poignant and gut-bustingly funny, and often all three at once.
  23. If Diao’s intent on confounding us, he has the courtesy to do it with frequently astonishing style and verve.
  24. What gives the film its lip-smacking, chilli-pepper kick is that we are never entirely certain who is conning whom, or even if what we are watching has any truth to it at all.
  25. Cleaving hard to its road-trip formula, it works out less of an honest-to-goodness plot than Magic Mike, but goes even beyond that wonderfully loose, dexterous movie in feeling sexually liberated. It’s more glammed-up, rising above any element of tawdry exploitation, and is more of an outright comedy.
  26. Canadian director Jean-Marc Vallée has followed up one big, awardsy film from last year (Dallas Buyers Club) with another at lightning speed. That was a braver film, but it's the spaciousness of this one that distinguishes it from being just another mechanically pre-ordained adversity narrative.
    • The Telegraph
  27. Benedict Cumberbatch is inspiredly cast, serving up a technically ingenious performance which may be his juiciest ever.
  28. Alpha Papa’s biggest laughs explode from moments of pure inconsequence.
  29. It has heft, it looks amazing, and it's businesslike to a fault.

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