The Telegraph's Scores

  • Movies
For 429 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Play
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 34 out of 429
429 movie reviews
  1. 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.
  2. This starfighter-recruit blockbuster is refreshingly idea-driven.
  3. 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.
  4. 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.
  5. Strange as it sounds – and is – Kumiko comprises a lingering display of empathy for its heroine, marching stridently on through her own peculiar headspace.
  6. This is cinema as decathlon – a string of tribulations to sap your stamina and make your ligaments burn.
  7. The film is awfully methodical, almost mathematical, in working through the various emotional steps every character must take in reaching an end point we readily guess. You appreciate the effort, even as you sense it.
  8. That it largely succeeds says much for writer-director Turturro’s sly, subtle skills.
  9. 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.
  10. 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.
  11. Reminders of Shaun of the Dead (2004) abound. However, an endearing cast...and a satisfying mix of gore and gorblimey charm more than compensate.
  12. 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.
  13. [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.
  14. 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.
  15. 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.
  16. In the end it amounts to not much, but in the moment I laughed a lot.
  17. 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.
  18. 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.
  19. It’s a brawny, inventive action romp that’s as happy firing rockets at helicopters as it is contemplating the Cartesian model of mind-body dualism, which gives it a satisfying, sweet-and-sour tang of its own.
    • 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.
  20. 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!
  21. [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.
  22. Well-played and divertingly handsome, it’s one of those pedigreed visions of love and war which backs away from specifics, reassuring us almost to death with its lavish craft. It’s thoroughly easy to sit through, when it should probably have been harder.
  23. 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.
  24. The scares are mostly very scary indeed, and that means the film does its job.
  25. Rather than do something freshly cinematic with Saint Laurent’s precise, elegant creations, the film is content to exhibit them.
  26. 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.
  27. You can’t help but feel disappointed that a film with a relatively spicy premise becomes, in the end, so risk-averse.
  28. 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.
  29. 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.

Top Trailers