The Telegraph's Scores

  • Movies
For 384 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 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Like Someone in Love
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 31 out of 384
384 movie reviews
  1. The Lone Ranger is a grand folly that, in a sane world at least, would never have been made, although I’m really rather glad someone did.
  2. Alpha Papa’s biggest laughs explode from moments of pure inconsequence.
  3. 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.
  4. This is cinema as decathlon – a string of tribulations to sap your stamina and make your ligaments burn.
  5. There’s nothing soft and romcom-cuddly here, but a brutal dissection of competitive friendship dynamics, eating disorders and selfish misery.
  6. 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.
  7. Lovelace tells a difficult story creditably, yet its period detail has the effect of distancing the story, and its heroine remains an enigma.
  8. The key to the film’s success, and the reason it often left me hooting with laughter, is Aniston, and her character’s struggle in vain to maintain her sweetheart persona.
  9. Unlike Walter Salles’s recent adaptation of On The Road, which embraced the Beat philosophy with a wide and credulous grin, Kill Your Darlings is inquisitive about the movement’s worth, and the genius of its characters is never assumed.
  10. The scares are mostly very scary indeed, and that means the film does its job.
  11. 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.
  12. 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.
  13. Benedict Cumberbatch is inspiredly cast, serving up a technically ingenious performance which may be his juiciest ever.
  14. Joe
    Joe represents a return to the independent-spirited storytelling that characterised Green’s early career.
  15. 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.
  16. Runner Runner starts off with a solid draw, then folds on the flop.
  17. Tonally the film is all over the rink, but it leaves you more convinced and entertained than you’d expect.
  18. 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.
  19. For all its properly surreal mayhem, this flick isn’t quite as nimble or emotionally rounded as its predecessor.
  20. Rather than bionically enhancing all its characters, a better movie might have found ways to celebrate their sloth and slime.
  21. This starfighter-recruit blockbuster is refreshingly idea-driven.
  22. 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
  23. 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.
  24. The legend loses something in the retelling, but what’s new here is mostly worth the trip.
  25. 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.
  26. 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.
  27. It is down to the strength of the acting that the film succeeds as far as it does.
  28. 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.
  29. 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.
  30. Their improvisation has been honed to the point where the jokes land solidly without losing naturalism.

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