The Telegraph's Scores

  • Movies
For 580 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Walk
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 39 out of 580
580 movie reviews
  1. A tough, vital, electrifying film.
  2. It’s the interplay between the film’s many different characters, rather than the blow-up-the-world crisis they’re trying to defuse, that keeps you on the edge of your seat.
  3. The real reason to see this is Swinton and Hiddleston’s sexy, pallid double act: two old souls in hot bodies who have long tired of this Earth, but have nowhere else to make their home.
  4. Only Michael Mann could have made it. And thank goodness he did.
  5. Hogg withholds the specifics, and lets you decode things for yourself. Her camera rarely moves, but every shot is composed with total artistry, building to a final image that’s somehow both joyful and devastating.
  6. I’m not sure The Revenant is quite as tough and uncompromising as it thinks it is: it's coffee-table existentialism, with psychological brush-strokes so thick they might as well have been put on with a mop. But there’s no question it’s an extraordinary, blood-summoning, sinew-stiffening ride.
  7. Perturbing truths about old age nestle inside an outwardly sentimental shell — it’s a less cosy or placid prospect than it seems.
  8. Considering these characters are bounced round like pinballs, it’s amazing Hawke and the hitherto unknown Snook gain the emotional traction they do: even those struggling to keep up can’t fail to notice how these two are burnt, figuratively and literally, by their experiences.
  9. If you are asking an audience to listen to one man talking for an hour and a half, you had better make sure he is worth listening to, and minute-by-minute, Hardy has you spellbound.
  10. Black has an instinctive feel for balancing action set-pieces against the passages of soap-opera that are required to make them matter.
    • 82 Metascore
    • 80 Critic Score
    No other British director is making films quite like this.
  11. A vastly enjoyable theatrical banquet, if perhaps not a profound one, is served up in a bit of a rush here, as if they can't wait to get the next sitting in. But you certainly don't come away feeling hungry.
    • 74 Metascore
    • 80 Critic Score
    Unrelated is an emotionally and sometimes wince-inducingly acute debut from British director Joanna Hogg that looks and feels and sounds like few other British films.
  12. The mood’s often as fun as it is funereal, and though the film occasionally feels clever in a way that isn’t necessarily a compliment, Sokurov’s ideas have a philosophical depth and richness that are found almost nowhere else in cinema.
  13. As a film, Testament of Youth glimmers with sadness, but also the apprehension of sadness: we know not all of these boys are coming back.
  14. Ballard’s concept is meticulously, lovingly recreated, like a museum exhibit of itself. But the tone is always more playful than it is disturbing, a walled-off black joke which opts out of saying anything new.
  15. Particle Fever offers enough broad explanation to keep lay persons up to speed. Where it excels is in depicting the various personalities involved.
  16. [A] stately and ambitious ensemble drama.
  17. This is a resounding return to form for Payne: there are moments that recall his earlier road movies About Schmidt and Sideways, but it has a wistful, shuffling, grizzly-bearish rhythm all of its own.
  18. The star of Brooklyn is Fiona Weir – not a person who appears on screen at any stage, but the woman who cast it.
  19. The film’s magic is how it slips the skin of sappy and mendacious formula, stepping away from cliché scene by scene, and in quietly revelatory ways.
  20. Director Meadows (This is England, Dead Man’s Shoes) has crafted a rowdy, raucous documentary that complements the band’s combative image; bristling with energy, it celebrates their reformation after a 16-year gap.
  21. After the subterranean sluggishness of the last film, too thinly spun out from the first third of Suzanne Collins’s final book, Mockingjay – Part 2 returns the series to its characteristic high gear.
  22. Love is All You Need has been made for an audience rarely catered for by the film industry: intelligent adults who enjoy perceptive and good-hearted drama.
  23. François Ozon’s Young & Beautiful is, in the very best sense, a film that won't add up.
  24. Paradise: Love flits nimbly between humour and sadness, and treats potentially ponderous themes such as sex, race and the rancid legacy of colonialism with a welcome light touch.
  25. Fill the Void is a real collector’s item: a film in which the forces of religion and tradition are shown to be working together, however haltingly and imperfectly, for the good.
  26. Guiraudie’s film is acutely brilliant on the funny, scary machinery of desire, and how easily humans can get caught up in its cogwheels.
  27. Modest as it may look, this is boundary-pushing cinema in all the best ways, and what a thrill it is to hear those boundaries creak.
  28. The slotting together of songs and plot is often done with a spark of inspiration.

Top Trailers