The Telegraph's Scores

  • Movies
For 299 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 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Suzanne
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 26 out of 299
299 movie reviews
  1. The 3D photography is shallow and muddy, although a David Attenborough voiceover helps sustain interest.
  2. Aharon Keshales and Navot Papushado, the two-man writer-director team, are swinging at serious targets here... But their point soon wears itself out, and what remains is schlock with airs and tired black humour.
  3. The second leg of Peter Jackson’s three-part adaptation of The Hobbit, by J. R. R. Tolkien, is mostly stalling for time: two or three truly great sequences tangled up in long beards and longer pit-stops.
  4. The sheer half-heartedness of the whole exercise, though, may still catch you unawares.
  5. Oscillates between the jolting and the absurd, bottoming out with a nonsensical coda.
  6. Despite his free and easy camerawork, which generates some lovely moments between Ian and Sofi, Cahill's narrative jolts along in fits and starts.
  7. It feels as though it would have been better served as a six-part sitcom, where its sentimentality, broad comedy and fantasy elements wouldn't rub up against each other so badly.
  8. The problem isn't a lack of weight, but of lightness. It's stuck with lead feet for a historical caper and serves no other worthwhile purpose.
  9. The macho showmanship of director Fyodor Bondarchuk, wedded to such a facile script, turns this undeniably impressive megaproduction into a behemoth you mainly want to cower from.
  10. Muppet film number eight is a resounding disappointment: it’s uneven and often grating, with only a few moments of authentic delight, and almost none of the sticky-sweet, toast-and-honey crunch of its vastly enjoyable 2011 forerunner.
  11. The racing scenes are its one hope of reclaiming your attention, but there aren’t nearly enough of them to justify such a killing duration.
  12. What you see in Dom Hemingway is exactly what you end up getting. It’s filthy, it’s shouty, it’s embarrassing, and you mainly want it to go away.
  13. This jumbled sequel, which was also directed by Carlos Saldanha, loses most of what made the first film such an infectious entertainment.
  14. The more you scrutinise the society Roth and these screenwriters have created, the more it seems a chintzily self-designed dystopia whose rules and entire infrastructure are pure cardboard.
  15. The more tangled the plot becomes, the more hackneyed Skjoldbaerg’s tactics get.
  16. This cast of national institutions make fools of themselves with a lack of vanity that’s theoretically fun, but there’s playing to the gallery, and then there’s clambering up there to wiggle your bits at them.
  17. Nick Cassavetes (John Q, The Notebook) has never delivered a picture that entirely knows what its tone is, and a manic uncertainty duly sucks the fun away.
  18. Anderson’s Pompeii doesn’t sweat the human stuff. His camera is mostly trained on the big picture: billowing smoke, tidal-waves, fireballs streaking through the sky. What’s happening to the people on the ground doesn’t matter, so long as we’re aware that 95 percent of them are being squashed or torched.
  19. The film squanders both of its casts, reeling from one fumbled set-piece to the next. It seems to have been constructed in a stupor, and you watch in a daze of future past.
  20. It's bad enough that the film has such minimal interest in his victim – after two scenes doing the film's best acting, Afesi is out of the picture. But as portraiture, Welcome to New York flops too, despite Dépardieu's considerable efforts.
  21. Michôd’s film consciously plays like an outback western, peppered with jagged and unpredictable outbursts of hard brutality. But it could do with losing control a little more often – and with establishing the dangers of its dog-eat-dog world more precisely.
  22. For all its visual fizz, Bonello’s film, which he co-wrote with Thomas Bidegain, tells us nothing about the designer save the usual pompous/concessive hero-worship.
  23. This is exasperatingly thin stuff from Loach and Laverty, who have in the past built far more textured narratives, peopled by far richer characters, even while maintaining the fierce, politicised charge they aim for here.
  24. Hazanavicius has confused sobriety with impact, and mulched down all the stories you might want to tell about Chechnya into a generic, undermotivated wallow.
  25. Like one of its animated 3D asides, the film jumps out at you, twiddles around and then folds itself away into nowhere. It’s all pop-up, no book.
  26. Rather than embracing the jangling song-and-dance numbers that made the live version box-office catnip, Eastwood sheepishly tidies them into the background, treating the project instead like a standard music-industry biopic.
    • 44 Metascore
    • 40 Critic Score
    Postman Pat: the Movie doesn’t get a stamp of approval.
  27. Shan Khan’s feature debut swaggers into its subject with more cocksure style than cogent analysis, like a tabloid splash designed to grip first and (if at all) illuminate later.
    • 53 Metascore
    • 40 Critic Score
    [A] minor and distinctly unchilling fare.
  28. The film’s glib disregard for collateral murder runs to farcical extremes.

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