The Telegraph's Scores

  • Movies
For 472 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 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Tale of The Princess Kaguya
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 35 out of 472
472 movie reviews
  1. Transformers has ambition and attitude in its pores, and spectacle to spare. Bay shoots cars like they’re women, and people like they’re cars, and tosses around metal like it’s made from thin air. The film wasn’t meant to make you think, but it does. For better or worse, it’s cinema.
  2. It’s a pleasing if minor piece of work, like a semi-precious stone that you’d still keep.
  3. 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.
  4. A story stretched thinly between two many characters, without the dynamism or momentum to keep itself charging onwards.
  5. A searching, timely drama about the dehumanising effects of waging war at a distance.
  6. 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.
  7. This is bold and uncompromising stuff from Scott; a Biblical epic to shake your faith in the order of things, not reaffirm it.
  8. Vengeance has powered countless movies over the years, but rarely can it have been given such a thorough – and thoroughly entertaining – showcase as it gets in Wild Tales.
  9. 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.
  10. It gets by more on goodwill than inspiration, but it’s lightly amusing and well played.
  11. Mockingjay – Part 1 is all queue, no roller-coaster. The third of four films in the successful and admirable Hunger Games series is any number of good things: intense, stylish, topical, well-acted. But the one thing it could never be called is satisfying.
  12. 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.
  13. Runner Runner starts off with a solid draw, then folds on the flop.
  14. The third Night at the Museum film starts strongly, with its heart in the past... It’s an exciting opening, and perhaps too exciting for the film’s own good. It’s hard not to be disappointed when the plot moves back to the present and settles into the time-honoured formula of digitised creatures running riot and famous people in fancy dress doing shtick.
    • 45 Metascore
    • 60 Critic Score
    It’s preposterous, but I dare you not to smile at the high-kicking silliness on offer, or the sweetly old-fashioned undertones: as the inevitable final showdown looms, loyalty, hard work and fair play are just as important to the dancers as strutting their stuff.
  15. Age of Uprising falls awkwardly (but not altogether unappealingly) into the gap between art film and horse opera.
  16. The one inspired idea here is what happens to the minions when they’re injected with serum by the film’s mystery baddie, and this is enough to give us at least a reel’s worth of anarchic pleasure.
  17. It’s a sturdy, straight tribute to an undertaking that feels wacky, quixotic and heroically mad – proving little that it set out to prove, but a great deal accidentally, about resourcefulness and survival in extremis.
  18. Jeremy Renner is superb as a reporter ruined by his biggest story, but The Parallax View this isn't.
  19. The film’s secret isn’t much of a secret at all. It just remembers why Neeson was such an oddly inspired choice for a grimy revenge thriller back in 2008 and does its best to repeat the trick.
  20. Throughout the film [Escalante's] camera tends to be lurking in the middle distance; coolly observing everything that passes through its inquisitive frame, leaving the messy business of reaction to us.
  21. For all its properly surreal mayhem, this flick isn’t quite as nimble or emotionally rounded as its predecessor.
  22. Rather than bionically enhancing all its characters, a better movie might have found ways to celebrate their sloth and slime.
  23. It’s Akhavan’s presence that elevates it above a crowded field. Her film’s a little bit different from the norm, and that – for now – is promising enough.
  24. It comes at you baying and rattling like an early Pedro Almodóvar comedy, threaded through with an infectious love of full-throttle melodrama, and flinging its energy right back to the cheap seats, thanks to Dolan's customarily zippy design choices.
  25. The legend loses something in the retelling, but what’s new here is mostly worth the trip.
  26. An enjoyably silly police thriller,
  27. 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.
  28. The film’s a satirical thriller, which is a novel enough entity in itself these days; it has a pungent, can’t-miss-the-point premise, and a big, weird, sharkish performance from Jake Gyllenhaal powering it up. It’s a must-see and a must-talk-about film, electrically overblown in the moment, if not wholly in control of its pay-off.
  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.

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