The Telegraph's Scores

  • Movies
For 465 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Before Midnight
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 35 out of 465
465 movie reviews
  1. 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.
  2. 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.
  3. An acutely compassionate account of unshakeable guilt.
  4. 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.
  5. Coppola’s uproarious and bitingly timely film feels every inch a necessary artwork.
  6. The mood flits between solemn and rascally, and the pacing is measured: this is storytelling at a mosey rather than a trot.
  7. 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.
  8. 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.
  9. 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
  10. Benedict Cumberbatch is inspiredly cast, serving up a technically ingenious performance which may be his juiciest ever.
  11. Alpha Papa’s biggest laughs explode from moments of pure inconsequence.
  12. It has heft, it looks amazing, and it's businesslike to a fault.
  13. This apocalypse isn’t a nightmare so much as the ultimate bromantic fantasy, one in which – with the removal of any responsibility – the boys are free to bicker, banter, and bed down together.
  14. This meat-and-potatoes B-thriller stays modest and grounded: compared with the noisy excesses of higher-budgeted action flicks, it has a kind of crude integrity.
  15. Come the final act, the best political thrillers don't play nice, after all – they twist the knife. This one’s so concerned with making the world a better place, it retracts the blade and wipes it clean
  16. There are lightning-flashes of pure, ornamental brilliance throughout Paolo Sorrentino’s Youth, although there’s not much happening on the landscape they illuminate.
  17. The subject is an important one but would benefit from a shorter running time.
  18. It's halfway-strong, just under-dramatised; goodness, though, if it doesn't show what O'Connell is capable of.
  19. Eastwood doesn’t care about the legend. Instead, he shows us Kyle much as he saw his targets: with that strange combination of extreme intimacy and extreme remove that a long-range sight confers.
  20. The film is not only unchallenging, it seems actively scared of challenging us. You emerge feeling pacified and only semi-entertained.
  21. There’s not much fault to find with Sicario on the level of craft or performances, just its rather sputtering momentum, and the lack of a higher purpose.
  22. Wingard has the technique to pull this homage off, and the sense to build unease from somewhere in the core of America’s psyche.
  23. The Imitation Game is a film about a human calculator which feels... a little too calculated.
  24. It’s certainly Redmayne’s film, and his performance is everything you could ask for: completely convincing in its physicality, credible in its pain, and warmly but not crassly optimistic in its nearly constant good temper.
  25. It is beautifully shot, too: even the writing on the posters and graffiti observes the style of classical French écriture. Given enough time, maybe one could even grow nostalgic for the pomposity.
  26. Thank heavens, then, for the time-loop gimmick, which sustains a full hour of screen time with enough variations on its gambit to hook you in.
  27. Wan’s film is a sturdily built supernatural chiller, with next-to-no digital effects or gore, and it delivers its scares with a breezy lack of urgency.
  28. As the narrative approaches its desired fusion of Gallic and Indian cuisine, so too Hallstrom looks to have hit his sweet spot: the very middle of middlebrow.
  29. The diminution works its appeal once again in Epic – the latest film from the creators of "Ice Age" and "Rio" – which is just as well, because the rest of the narrative follows a rather predictable route.

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