The Telegraph's Scores

  • Movies
For 557 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Whiplash
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 39 out of 557
557 movie reviews
  1. Rush has sex, glamour, a fair degree of wit and a breathless, pedal-to-the-metal spirit. But its greatest achievement may be to underline that there are real men, all vulnerable flesh and blood, inside those infernal machines.
  2. I loved every minute of Filth, and couldn’t have stomached another second of it.
  3. It’s a critic’s instinct to auto-praise any blockbuster that tries to do something different, but Catching Fire is so committed to carrying on the fine work started by its predecessor that the applause flows utterly naturally.
  4. Quantum of Solace offers next to no solace, if we mean respite, but in plunging its hero into a revenge-displacement grudge mission, it has the compensation of a rock-solid dramatic idea, and the intelligence to run and run with it.
  5. What we’ve seen since the beginnings of the Marvel serial in 2008 is an ongoing stretching: bigger casts, grander set-pieces and more intricate interplay between characters, with no clear end in sight. Ant-Man scuttles off in the other direction. Brisk humour, keenly felt dramatic stakes, and invention over scale. You know: small pleasures.
  6. Wright’s inkily beautiful, imaginatively structured picture - drama bleeds into newsreel and archive footage - is another excellent new film about the strange ways British landscapes (and here, seascapes) work on British minds.
  7. Allen’s ambitions with this taut, tart character study might not be stratospheric, but they’re at least moderate-to-high, and his degree of success is exciting.
  8. This cherishable Irish B-picture is one of those rare horror films with an unimprovable premise.
  9. The Butler might bite off more history than it can chew, but it packs a sustained emotional punch, more than a pinch of wit, and a superb performance from Whitaker as a man burning with passion beneath his immaculate, repressed exterior.
  10. Johnson and co-writer Mark Heyman may be exploring familiar territory but they do so with a warmth, subtlety and honesty that marks it out.
  11. This is a complex, bewitching and melancholy drama, another fearlessly intelligent film from Assayas.
  12. Its sombre sincerity and hypnotic, treasure-box beauty make Crimson Peak feel like a film out of time – but Del Toro, his cast and his crew carry it off without a single postmodern prod or smirk. The film wears its heart on its sleeve, along with its soul and most of its intestines.
    • 61 Metascore
    • 80 Critic Score
    While the plot is straightforward, characters are well-drawn, many defined by ironic delusions.
  13. An acutely compassionate account of unshakeable guilt.
  14. Writer-director Jeremy Lovering, in his feature debut, keeps a skilful handle on technique — his film is a calling card that could give you paper cuts.
  15. Coppola’s uproarious and bitingly timely film feels every inch a necessary artwork.
  16. The mood flits between solemn and rascally, and the pacing is measured: this is storytelling at a mosey rather than a trot.
  17. The World’s End is a fitting end to the trilogy: it is by turns trashy, poignant and gut-bustingly funny, and often all three at once.
  18. If Diao’s intent on confounding us, he has the courtesy to do it with frequently astonishing style and verve.
  19. What gives the film its lip-smacking, chilli-pepper kick is that we are never entirely certain who is conning whom, or even if what we are watching has any truth to it at all.
  20. From its unshowy script on down, Mississippi Grind is content to rumble along as a character piece, keeping its storytelling loose and unpredictable, like a repeat flick of the dice.
  21. Cleaving hard to its road-trip formula, it works out less of an honest-to-goodness plot than Magic Mike, but goes even beyond that wonderfully loose, dexterous movie in feeling sexually liberated. It’s more glammed-up, rising above any element of tawdry exploitation, and is more of an outright comedy.
  22. Canadian director Jean-Marc Vallée has followed up one big, awardsy film from last year (Dallas Buyers Club) with another at lightning speed. That was a braver film, but it's the spaciousness of this one that distinguishes it from being just another mechanically pre-ordained adversity narrative.
    • The Telegraph
  23. Benedict Cumberbatch is inspiredly cast, serving up a technically ingenious performance which may be his juiciest ever.
  24. It’s a chewy watch, heavy on the socio-political carbs, and its method can be a little exhausting. But its determination to do right by its subject – and Gitai’s own country too – is soberly compelling.
  25. Alpha Papa’s biggest laughs explode from moments of pure inconsequence.
  26. It has heft, it looks amazing, and it's businesslike to a fault.
  27. This apocalypse isn’t a nightmare so much as the ultimate bromantic fantasy, one in which – with the removal of any responsibility – the boys are free to bicker, banter, and bed down together.
  28. This meat-and-potatoes B-thriller stays modest and grounded: compared with the noisy excesses of higher-budgeted action flicks, it has a kind of crude integrity.
  29. Come the final act, the best political thrillers don't play nice, after all – they twist the knife. This one’s so concerned with making the world a better place, it retracts the blade and wipes it clean

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