The Telegraph's Scores

  • Movies
For 299 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 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Frances Ha
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 26 out of 299
299 movie reviews
  1. This modest ladcom scores rather higher on the sincerity scale, much like a best man’s speech that fluffs the jokes but semi-accidentally gets a deep sense of friendship across.
  2. Genres don’t come much more formulaic than frat-house comedy, and nobody, in this fair-to-fine example, feels like rocking the boat.
  3. Director Camille Delamarre and Luc Besson, who co-wrote the screenplay, relocate the story to Detroit and tone down some of its (admittedly broad) social satire — although the Parkour remains centre-stage, and is mostly hair-raising.
  4. The film has limitations. But it has Binoche, and that’s almost enough.
  5. Age of Uprising falls awkwardly (but not altogether unappealingly) into the gap between art film and horse opera.
  6. It gets by more on goodwill than inspiration, but it’s lightly amusing and well played.
  7. Only a film as big as Africa could have done Adichie’s novel full justice; the treatment it gets here, equally honourable and hurried, reduces it to Nigerian soap with BAFTA-level acting.
  8. For all the film’s merits, the suspicion persists that McDonagh’s a little too pleased with his own fulminating thesis. Time and again the writing is showing off for effect, delivering a fire-and-brimstone sermon with cocky swagger.
  9. The action sequences here are armrest-gripping fun, and you only wish DeBlois and his animators had been even more confident; held their shots even longer; allowed us to enjoy the whistle of the wind and the curve of the dragons’ flight paths without hurriedly cutting away to another angle, and another, and another. When the film flies, it soars.
  10. That it largely succeeds says much for writer-director Turturro’s sly, subtle skills.
  11. It comes at you baying and rattling like an early Pedro Almodóvar comedy, threaded through with an infectious love of full-throttle melodrama, and flinging its energy right back to the cheap seats, thanks to Dolan's customarily zippy design choices.
  12. The action sequences are executed with rhythm and punch, and our heroine swoops and swirls around like Iron Man in a sheath dress. Maleficent may be short on true enchantment, but until we find a superhero who can pull off a black silk cocktail gown in battle, she’s very welcome.
  13. 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.
  14. 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.
  15. Woodley and Dern breathe a ghost into the machine. Willem Dafoe has fun, albeit not too much, in a brief, vital role as a creepy writer. Most crucially, the words that survived from Green’s novel did so for a reason.
  16. Rather than do something freshly cinematic with Saint Laurent’s precise, elegant creations, the film is content to exhibit them.
  17. It’s a pleasing if minor piece of work, like a semi-precious stone that you’d still keep.
  18. The subject is an important one but would benefit from a shorter running time.
  19. Transformers has ambition and attitude in its pores, and spectacle to spare. Bay shoots cars like they’re women, and people like they’re cars, and tosses around metal like it’s made from thin air. The film wasn’t meant to make you think, but it does. For better or worse, it’s cinema.
  20. Sure, the film is crude, calorific and full of groanworthy half-jokes, but it holds together. It stacks up as an oafish pleasure for an undemanding summer – a rewriting of myths in scrawled crayon, with a nonchalant quality that makes its judiciously brief running time fly by.
  21. I’m So Excited! is vertiginously disappointing in the way only bad films from great filmmakers can be.
    • 40 Metascore
    • 40 Critic Score
    A compromise, a ghastly hybrid, a film that appears to have pirated and wrecked its own potential.
  22. Before, after, and between these (action) sequences, even by the paltry standard of previous scripts, it’s slow-witted and won’t shut up.
  23. Dialogue aside, the craftsmanship is unimpeachable, and Gray takes a timeless approach to pacing and camerawork: even the sunlight is sepia-tinted. But the grand themes of loyalty and ambition never catch fire, and the film’s few truly memorable moments are invariably its smallest.
  24. This movie starts from a premise so sociologically batty it’s hard to take any of its subsequent terrors seriously, which means tension doesn’t so much fly out the window as fail to even get up the driveway.
  25. While his ambitious conceit hangs together over two hours of loudly-declaimed meta-metatheatricality, my word, does it feel like an unholy slog.
  26. What we get is a collection of moderately violent action set-pieces untroubled by humour or broader coherence.
  27. Despite the Smith family’s association with Scientology, which unmistakably informs this tale’s belief system (“Fear is a Choice”), as well as its shaky attempts at mythic patterning, it is in no way the laughable shambles that John Travolta’s infamous "Battlefield Earth" was.
  28. There are cameos from James Franco, Stephen Dorff, a comically moustachioed David Schwimmer and an unrecognisably hirsute Chris Evans as various lowlifes. A pity, then, that nothing else in Ariel Vromen’s movie is remotely on Shannon’s level, from the plodding, Scorsese-clone script to the needlessly lifeless editing and cinematography.
  29. The movie subverts expectations, and not in a good way, by seeming in a dither about its own identity. The romance is by the by, the comedy as sparse as can be. We’re left with a curious non-film about the pitfalls of higher education assessment. Odd.

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