The Telegraph's Scores

  • Movies
For 440 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Play
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 35 out of 440
440 movie reviews
  1. It's halfway-strong, just under-dramatised; goodness, though, if it doesn't show what O'Connell is capable of.
  2. 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.
  3. The film is not only unchallenging, it seems actively scared of challenging us. You emerge feeling pacified and only semi-entertained.
  4. Wingard has the technique to pull this homage off, and the sense to build unease from somewhere in the core of America’s psyche.
  5. The Imitation Game is a film about a human calculator which feels... a little too calculated.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. As supposedly taboo-smashing comedy, it’s never on full thrust, settling more for tentative gags with underwear firmly in place.
  13. Joe
    Joe represents a return to the independent-spirited storytelling that characterised Green’s early career.
  14. There’s no question The Rewrite is underpinned by the same story mechanisms it draws attention to... But there are moments here when sunlight breaks through the shtick.
  15. The film moves like a pyjama case full of angry weasels, and finds ingenious ways to cram every scene with just one more loopy, disposable gag or slapstick thwack. It may not be the year’s best animated film, but it’s almost certainly the most.
  16. You’ve got to take the rough with the smooth, and there’s a lot of smooth here. Jim Broadbent has the balance of jollity and melancholy just right as Santa.
  17. There’s nothing soft and romcom-cuddly here, but a brutal dissection of competitive friendship dynamics, eating disorders and selfish misery.
  18. There are clever and sensitive touches right through, and a moving ending. But Fanning seems wholly uncomfortable, and not always intentionally.
  19. Their improvisation has been honed to the point where the jokes land solidly without losing naturalism.
  20. Klaartje Quirijn’s engaging film portrait of Dutch rock-photographer-turned-filmmaker Anton Corbijn goes a long way towards explaining the emptiness and isolation that characterise his work
  21. About Time is itself a film less directed than quilted: it’s a feathery old patchwork under which you might snuggle at the end of a tiring week.
  22. Hoffman's performance has a sadness, an unexplained loneliness, which gives this slightly diffident piece a centre of sorts, and there's a pleasing air of melancholy all round.
  23. I’ve always enjoyed the idea of the Fast & Furious films more than their execution, but this feels like the series’ strongest, even though some of its action sequences are so muddled they can barely walk straight.
  24. It’s well-acted, especially by Healy (The Innkeepers), who makes you feel the pain of every wound, the ratcheting torture of every dilemma. But the film’s also a gimmicky exercise whose hollowness and credibility are constant problems.
  25. Does it add up to much? Not really. Not finally. But it’s a suggestive puzzle-box of a picture, worth turning over in your palm.
  26. Only God Forgives is the spectacle of a brilliant young director spinning out in style. It’s a beautiful disaster.
  27. Mud
    It’s a lovely, coherent piece of storytelling, with a unique sense of place.
  28. The film’s scope is limited, but as far as it goes, All Is Lost is very good indeed: a neat idea, very nimbly executed.
  29. Lovelace tells a difficult story creditably, yet its period detail has the effect of distancing the story, and its heroine remains an enigma.
  30. Sin City 2 glowers and sulks and is determined to show you the best bad time you’ve had in years. It’s neither high art nor noir, but it’s what a Sin City film should be.

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