The Telegraph's Scores

  • Movies
For 557 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Mad Max: Fury Road
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 39 out of 557
557 movie reviews
    • 82 Metascore
    • 80 Critic Score
    No other British director is making films quite like this.
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. Particle Fever offers enough broad explanation to keep lay persons up to speed. Where it excels is in depicting the various personalities involved.
  6. [A] stately and ambitious ensemble drama.
  7. 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.
  8. The star of Brooklyn is Fiona Weir – not a person who appears on screen at any stage, but the woman who cast it.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. François Ozon’s Young & Beautiful is, in the very best sense, a film that won't add up.
  14. 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.
  15. 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.
  16. Guiraudie’s film is acutely brilliant on the funny, scary machinery of desire, and how easily humans can get caught up in its cogwheels.
  17. 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.
  18. The slotting together of songs and plot is often done with a spark of inspiration.
  19. This is Egoyan’s best film for a very long time: like Reynolds, he needed a hit, and The Captive is a welcome return to the form of The Sweet Hereafter. Its eeriness creeps up on you and taps you on the shoulder, and when you spin around, it’s still behind you.
  20. Ferrara has come up with something pretty special here: a subtle, seductive, lamp-lit hymn to one artist’s talents from another in the process of rediscovering his own.
  21. Mendes...lets the quieter moments breathe.... But Mendes is rather good at being loud, too, and his nine times Oscar-nominated cinematographer Roger Deakins makes the wildly ambitious action sequences the most beautiful in Bond’s 50-year career.
  22. Wiese’s film is an efficient piece of work, competent as a film but blistering as an example of human rights advocacy.
  23. 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.
  24. This is bewitchingly smart science fiction of a type that’s all too rare. Its intelligence is anything but artificial.
  25. 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.
  26. Captain Phillips is a triumph of solid, professional and sometimes inspired film crafts, deserving of all the plaudits that come its way.
  27. 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.
  28. 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.

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