The Telegraph's Scores

  • Movies
For 342 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 0.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Birdman or (The Unexpected Virtues of Ignorance)
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 28 out of 342
342 movie reviews
  1. 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.
  2. Rather than do something freshly cinematic with Saint Laurent’s precise, elegant creations, the film is content to exhibit them.
  3. It’s a pleasing if minor piece of work, like a semi-precious stone that you’d still keep.
  4. The subject is an important one but would benefit from a shorter running time.
  5. 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.
  6. 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.
    • 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.
  7. Sin City 2 glowers and sulks and is determined to show you the best bad time you’ve had in years. It’s neither high art nor noir, but it’s what a Sin City film should be.
  8. 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.
  9. [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.
  10. 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.
  11. Wingard has the technique to pull this homage off, and the sense to build unease from somewhere in the core of America’s psyche.
  12. As supposedly taboo-smashing comedy, it’s never on full thrust, settling more for tentative gags with underwear firmly in place.
  13. The Imitation Game is a film about a human calculator which feels... a little too calculated.
  14. As the narrative approaches its desired fusion of Gallic and Indian cuisine, so too Hallstrom looks to have hit his sweet spot: the very middle of middlebrow.
  15. A searching, timely drama about the dehumanising effects of waging war at a distance.
  16. 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.
  17. Some of the supporting performances are so hammily spiteful and giggly they let the side down, but the film is perfectly cast in its main roles.
  18. It’s certainly Redmayne’s film, and his performance is everything you could ask for: completely convincing in its physicality, credible in its pain, and warmly but not crassly optimistic in its nearly constant good temper.
  19. I’m So Excited! is vertiginously disappointing in the way only bad films from great filmmakers can be.
    • 40 Metascore
    • 40 Critic Score
    A compromise, a ghastly hybrid, a film that appears to have pirated and wrecked its own potential.
  20. Before, after, and between these (action) sequences, even by the paltry standard of previous scripts, it’s slow-witted and won’t shut up.
  21. Dialogue aside, the craftsmanship is unimpeachable, and Gray takes a timeless approach to pacing and camerawork: even the sunlight is sepia-tinted. But the grand themes of loyalty and ambition never catch fire, and the film’s few truly memorable moments are invariably its smallest.
  22. This movie starts from a premise so sociologically batty it’s hard to take any of its subsequent terrors seriously, which means tension doesn’t so much fly out the window as fail to even get up the driveway.
  23. While his ambitious conceit hangs together over two hours of loudly-declaimed meta-metatheatricality, my word, does it feel like an unholy slog.
  24. What we get is a collection of moderately violent action set-pieces untroubled by humour or broader coherence.
  25. Despite the Smith family’s association with Scientology, which unmistakably informs this tale’s belief system (“Fear is a Choice”), as well as its shaky attempts at mythic patterning, it is in no way the laughable shambles that John Travolta’s infamous "Battlefield Earth" was.
  26. There are cameos from James Franco, Stephen Dorff, a comically moustachioed David Schwimmer and an unrecognisably hirsute Chris Evans as various lowlifes. A pity, then, that nothing else in Ariel Vromen’s movie is remotely on Shannon’s level, from the plodding, Scorsese-clone script to the needlessly lifeless editing and cinematography.
  27. The movie subverts expectations, and not in a good way, by seeming in a dither about its own identity. The romance is by the by, the comedy as sparse as can be. We’re left with a curious non-film about the pitfalls of higher education assessment. Odd.
  28. Neither clever nor stupid enough to work.

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