The Telegraph's Scores

  • Movies
For 407 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 0.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Play
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 32 out of 407
407 movie reviews
  1. 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.
  2. If they had to give Drac an “origin story” this literal-minded, at least they had the sense to keep it keen and lively, whittled to a point.
  3. Reminders of Shaun of the Dead (2004) abound. However, an endearing cast...and a satisfying mix of gore and gorblimey charm more than compensate.
  4. 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.
  5. [Folman's] film is an alluring curio, a protest against the digital frontier which gets stuck with a knotty internal paradox – it starts out as thoroughly its own experiment, and ends up like a counterfeit of too many others.
  6. 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.
  7. We all know Smith can deliver barbs like blow-darts, but Parker’s screenplay gives her a too-rare chance to do something more – and when she delivers a bittersweet, profound monologue towards the end of the film, it feels like you’re watching a classic Ferrari reach the end of an average speed check zone and whistle off into the distance.
  8. In the end it amounts to not much, but in the moment I laughed a lot.
  9. It’s hard to decide if Black Sea is a good idea put over with sub-par execution, or an iffy idea handled as well as possible in the circumstances.
  10. 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.
    • 45 Metascore
    • 60 Critic Score
    For long periods, it is just Tipton and Teller on screen together and it is testament to the fizzing chemistry between them that their evolving relationship remains compelling.
  11. This is a fun piece of play-acting for as long as it lasts, but it never quite feels like much more. Things may become kinky in front of the lens, but you can sense Polanski lurking behind it throughout, always ready with his safe-word. Cut!
  12. [Sachs'] subtle, often quite special film shows us a shared life as a series of impositions: sometimes we’re imposed upon, and sometimes we do the imposing, and love is the net result.
  13. Its success may depend on how alert you’re feeling, but for once you can’t complain that a movie hasn’t given your synapses a thorough workout.
  14. The scares are mostly very scary indeed, and that means the film does its job.
  15. Rather than do something freshly cinematic with Saint Laurent’s precise, elegant creations, the film is content to exhibit them.
  16. Whatever Muse drives Malick, whose best work feels both found – in the sense of discovered in the shoot and edit – and profound, he could be accused of cheating on her in Knight of Cups, leapfrogging between unsatisfactory short-term conquests. His career is quite a journey, but this episode has an empty tank.
  17. You can’t help but feel disappointed that a film with a relatively spicy premise becomes, in the end, so risk-averse.
  18. 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.
  19. 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.
  20. 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.
  21. As metaphors for life go, wine has a very high yield, and Gilles Legrand’s sensitive screenplay tramples out every last drop of juice.
  22. Tonally the film is all over the rink, but it leaves you more convinced and entertained than you’d expect.
  23. A large portion of Star Trek’s audience may well be satisfied by a film that amounts to not much more than an incredibly pretty and sporadically funny in-joke. But think back to the corny romance of that original mission statement, recited by William Shatner on many a rainy school night. Strange new worlds. New life. New civilisations. Boldly going where no man has gone before. That pioneer spirit? It’s gone.
  24. 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.
  25. Very little is out of place in Branagh’s do-over, but that’s almost a problem: there’s a feeling, throughout, of going perfectly through the motions. The film is all smoothly-operated crane shots, excellent hair, gleaming teeth. Originality is the glass slipper it never even tries on.
  26. 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.
  27. Admittedly modest, but the epitome of jolly, this is like the companionable second volume of an autobiography in film form – you'll whip through it in no time, and come out wanting more.
  28. If you’re in the market for a workaday crime story, Schechter’s film fulfills some of its obligations. You might just wish it had more life.
  29. 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.

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