The Telegraph's Scores

  • Movies
For 358 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Wolf of Wall Street
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 28 out of 358
358 movie reviews
  1. The scares are mostly very scary indeed, and that means the film does its job.
  2. The result is a film that does perfectly respectable justice to Lomax's ordeal, without ever making a strong case for itself as independently stirring art.
  3. It's a bureaucratic noir nightmare that may put you more readily in mind of Kafka, albeit with a tone of tongue-in-cheek bleakness that's bracing and funny – at least at first.
  4. Benedict Cumberbatch is inspiredly cast, serving up a technically ingenious performance which may be his juiciest ever.
  5. Joe
    Joe represents a return to the independent-spirited storytelling that characterised Green’s early career.
  6. The film leaves you enlightened and disillusioned, but still furious at Armstrong, who seems to have drawn the conclusion that he is now a tragic hero.
  7. Runner Runner starts off with a solid draw, then folds on the flop.
  8. Tonally the film is all over the rink, but it leaves you more convinced and entertained than you’d expect.
  9. For a while, the film gets by on silliness alone. But in the end, it all amounts to no more than a sniggery guilty pleasure.
  10. For all its properly surreal mayhem, this flick isn’t quite as nimble or emotionally rounded as its predecessor.
  11. Rather than bionically enhancing all its characters, a better movie might have found ways to celebrate their sloth and slime.
  12. This starfighter-recruit blockbuster is refreshingly idea-driven.
  13. 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
  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. The legend loses something in the retelling, but what’s new here is mostly worth the trip.
  16. You’re left wishing that Adler had focused more on the no-win moral tangle of the handler-informant relationship, and less of the mechanics of its execution.
  17. The real revelation is Alice Eve, who gives a strikingly direct and affecting portrait of a woman in a desperate situation. Still, after too many pat plot twists and one nauseatingly slow death, I wished the film surrounding her were a little fresher.
  18. It is down to the strength of the acting that the film succeeds as far as it does.
  19. The plot strong-arms the characters into increasingly contrived and overly familiar positions that leave you longing for the more relaxed vibe of Shelton's earlier films.
  20. The film hinges on the bond between dad and daughter and on the expressive face of Fanning, as we see her shift from a sort of nervous adoration of the unpredictable, if loving, Joe, to something more steely and independent.
  21. Their improvisation has been honed to the point where the jokes land solidly without losing naturalism.
  22. Although the access is intimate, what emerges is not particularly surprising.
  23. The film is not only unchallenging, it seems actively scared of challenging us. You emerge feeling pacified and only semi-entertained.
  24. If 300’s human touch largely came down to Butler’s roaring and screaming, it’s left entirely to Green to goose the sequel into life. Happily she obliges.
  25. It's halfway-strong, just under-dramatised; goodness, though, if it doesn't show what O'Connell is capable of.
  26. You can’t help but feel disappointed that a film with a relatively spicy premise becomes, in the end, so risk-averse.
  27. Marc Webb, returning after the last instalment, again shows a better feel for the relationships than he does for juggling all the overlapping story elements.
  28. 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.
  29. Genres don’t come much more formulaic than frat-house comedy, and nobody, in this fair-to-fine example, feels like rocking the boat.
  30. 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.

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