Total Film's Scores

  • Movies
For 1,072 reviews, this publication has graded:
  • 60% higher than the average critic
  • 4% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 4.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 It Follows
Lowest review score: 20 Stand Up Guys
Score distribution:
1072 movie reviews
  1. The sci-fi premise seems preposterous, but get beyond that and Gedeck’s predicament absorbs.
  2. Tamer than the book and not as funny, this is Salmon filleted. But McGregor and Blunt make fetching lovebirds, while Kristin Scott Thomas is off the scale in a rare comic outing.
    • 50 Metascore
    • 60 Critic Score
    Ocean’s Eleven meets The Prestige? Not quite. Starts well, ends in a heap, but in between there’s just enough splash and flash to distract from the lack of substance
  3. Valiant, but flawed. Some of the set-pieces are superb, but there isn’t enough meat on the bones to turn this into a classic.
    • 67 Metascore
    • 60 Critic Score
    A mixed return for Stillman, Damsels is so whimsically out of step it's like a time-travel comedy without the time travel. Fortunately, Gerwig and some dazzling dialogue save his blushes.
  4. Depending on taste, you’ll be left either barfing or laughing.
    • 42 Metascore
    • 60 Critic Score
    Vaughn and Wilson. eight years on from "Wedding Crashers," the pair successfully rekindle their irascible shtick.
  5. With Hill on co-scripting duties with Scott Pilgrim scribe Michael Bacall, 21 Jump Street was always going to live or die by its gags. Fortunately, it boasts that sweet-yet-dirty comedy that Hill revels in.
  6. Closer to Eli Roth than Sam Raimi, this brutal retread combines J-horror atmospherics with torture-porn kills. It’s more evisceration than invention but at least has the courage of its bloody-minded convictions.
    • 45 Metascore
    • 60 Critic Score
    By the time it’s over, you’ll either be heading for the beach or vowing never to go in the water again.
  7. Lawrence’s mechanised menagerie and the directors’ stereoscopic smarts entertain most.
  8. Shame that the plotting favours narrative intrigue over character depth, creating a film whose message is witnessed rather than felt.
    • 35 Metascore
    • 60 Critic Score
    Ashley Bell’s nuanced performance and a surprisingly pyrotechnic finale liven up a gloomy sequel. Title’s still nonsense, mind.
  9. The vagueness won't win Dumont new fans, but his enigmatic allegory of intertwined good and evil does linger in the mind.
  10. Massively unlikely, but compelling to the last, it makes a decent fist of conveying the strength of internet attachments, even if filtering the unfolding drama through endless computer screens becomes a well-worn device.
  11. The scuzz-chic visuals, sleaze-synth score and deep-cutting gore are effective, and shooting from the killer’s POV proves a valid USP. But Wood, despite giving his all, cannot match Joe Spinell’s unhinged turn in the original: nightmares in a damaged brain indeed.
  12. The thematic weight drags down the tension, yet just when it seems Janiak has forgotten the scares she pulls off a creepy finale.
  13. It ebbs away at the climax, but there’s 45 minutes where it sings loud and strange.
    • 44 Metascore
    • 60 Critic Score
    Without much in the way of nudge-wink Pixar-style humour and pathos, mums and dads are less likely to be quite so enthralled.
  14. It might look as though Hallmark, Benetton and Richard Curtis have collaborated on a movie, but Chelsom’s lightly subversive, self-aware tone bolsters Pegg’s best shot yet at a mass-appeal crowd-pleaser.
  15. The script keeps its gloves on but Gyllenhaal gives his all, notching up one of his very best performances.
  16. It’s hard not to be moved by the story, but it’s only a handful of great performances that save it from underwhelming. Steal the book instead.
  17. Direction and cast pack a wallop.
  18. Mostly, it’s a study of an analogue ghost turned digital star; yet because Maloof is vested in building Maier’s reputation, the film leaves some uncomfortable questions about the ethics of posthumous fame.
  19. It's a must see for fans of roar footage.
    • 54 Metascore
    • 60 Critic Score
    Bob has spawned multiple books, but what works on the page seems slight on screen. That’s not to say it isn’t life-affirming, it’s just not quite the cat’s pyjamas.
  20. Fun enough, but not the lightning-bolt-to-the-heart update we hoped for. For a far superior update of the Frankenstein myth, read Stephen King’s Revival.
  21. [A] memorable, conventional account of a true maverick.
  22. Francesca Gregorini’s film stands or falls on a central mystery as silly as it is surreal. Fair play to Gregorini, though, for avoiding the temptation to deliver an outré slice of suburban Gothic; by framing events as melodrama, she can better examine themes of grief and motherhood.
    • 62 Metascore
    • 60 Critic Score
    For dance fans this is a fascinating study of the time, effort and logistics that go into a big production.
  23. The film’s cryptic style obscures insight; just as the condition provides a scapegoat for neglecting Abby’s motives, so it prevents Passon from developing a sustained dramatic network. Satisfaction is fleeting.
  24. Jalil Lespert’s film treats its hero with a high seriousness that not even Niney’s uncanny portrayal of YSL’s artistry and mental fragility can justify.
    • 54 Metascore
    • 60 Critic Score
    It isn’t a reboot or reimagining, refreshingly, but Oblivion plays like a stylised remix of superior sci-fi ground-breakers. Cruise and Kosinski: they might be an effective team, but pioneers they’re not.
  25. It's slight, sure, and there's a better, less-glossy film buried in the material, but warm performances redeem Crowe's agreeable return.
    • 67 Metascore
    • 60 Critic Score
    Logan Lerman delivers a career-making turn in this sweet, sincere film. It might not be a massive hit, but it will certainly ease a few paths through the awkwardness of adolescence.
  26. A brutal fusion of angst and action, this mini-epic gives the sword-and-sorcery genre a bleak, brusque new life. Watch it for some terrific limbchopping and a mighty turn by James Purefoy.
  27. Washington and Wahlberg are an effective double act in an intermittently exciting thriller with more twists than it needs. We’d love to see them partnered again, though perhaps as characters.
  28. Guilty of being slavishly loyal, Taylor’s film never quite translates into the cinematic equivalent of Hawkins’ page-turner. Blunt, though, is excellent.
  29. Full of fizz, filth and fun, I’m So Excited! is like an ’80s retro-blast. Its scattershot comedy may not impress latecomers to Almodóvar’s career, but old-school fans will love it.
  30. Like all of Bay’s work, it’s over-the-top, brash and exhausting to watch. But like the lifestyle its characters aspire to, there’s an allure too.
  31. Despite some striking imagery and sterling FX work, Welsh writer/director Caradog W James’ expert use of limited resources doesn’t stretch as far as the subtlety-averse script.
  32. Christian Bale’s earnest, emotional turn sustains a thriller that throws a few mean jabs but staggers towards a punch-drunk resolution.
  33. The direction pummels and the cast impress, yet Berg’s war movie promises more than it delivers. Memories of Battleship are sunk, but that Oscar buzz may be a bit premature.
  34. A competent rather than classic follow-up. If the action feels generic at times, the addition of Watts, more Winslet and the strength of Woodley are worth watching.
    • 41 Metascore
    • 60 Critic Score
    It's not quite "Before Sunrise" with mud and portaloos then, but warm vibes, buzzy crowd scenes and the two leads' enthusiasm will pull you through to the morning after.
  35. A visually inventive, deliciously dark fairytale reheat. The story's far from the stuff of legend, but Theron makes for a ferocious meanie, helping to flush away "Mirror Mirror's" sugary aftertaste.
  36. The Expendables 3 marks a sizeable improvement on the first two outings.
  37. Joseph Gordon-Levitt is credible as the former NSA contractor, but Stone gets side-tracked by his relationship with Lindsay Mills (Shailene Woodley) and Rhys Ifans’ leering CIA suit.
  38. The 3D is completely redundant and the action sporadic but unexpected gearshifts provide plenty of narrative meat.
  39. It’s absorbing to a point, but adds little to what’s gone before.
    • 60 Metascore
    • 60 Critic Score
    The ghost of Tex Avery is alive and well in a frenetic sequel that does more than reheat and serve. Madagascar 4? Don't bet against it.
  40. An amusing, thoughtful romcom about love, literature and coming of age. Whatever age.
  41. Believably charts a girl’s coming of age but is eventually capsized by lurid melodrama.
  42. Engagingly off-centre, like Charlie Kaufman taking down Quentin Tarantino, this sunbaked shaggy-dog story is a place-holder film for McDonagh, and often closer to chaos than it is to genius.
  43. The restlessness of the camerawork may drive you to distraction, but director/co-writer Calin Peter Netzer’s film is held steady by Gheorghiu’s staunch performance.
    • tbd Metascore
    • 60 Critic Score
    Viewed as a Brit answer to ’70s and ’80s exploitation flicks, endless Seagal movies and First Blood (Dyer is rogue SAS; his colonel issues Trautman-esque warnings), it’s surprisingly decent.
  44. Despite the all-star talent, an overload of sight gags and an always-amiable vibe, Genndy Tartakovsky's monster house is a bit too loony for its own good.
  45. Next to message-laden, CG-soaked kids’ animations, SpongeBob stands alone. His return is a skittish but winning splash of nonsense: dip in.
    • 47 Metascore
    • 60 Critic Score
    Shooting in dull, wintry colours, the mood is set for a story that can only end badly.
  46. James DeMonaco’s blood-splattered thriller begins well before expiring slowly from multiple improbabilities.
  47. It’s handsomely lensed, and when Cage and Cusack finally go nose-to-nose, the fur does fly.
  48. Richard Laxton’s painterly film combines the gothic shadows of Hitchcock’s Rebecca with the gut-wrenching romance of A Royal Affair. The result is dark and offbeat, but as a murky anti-romance, Gray is undeniably effective.
    • 36 Metascore
    • 60 Critic Score
    If you can ignore the disturbing parallels with recent events, this middle-aged, Middle-American "Attack The Block" raises a laugh.
  49. As sci-fi, it feels like a professionally produced hybrid that lacks its own identity. As a romance, it never fully earns your investment.
    • tbd Metascore
    • 60 Critic Score
    The kills are inventive but Noble’s baggy trousered butcher is too sympathetic, and his teenage victims too generic for this to be in anyway scary.
  50. It’s not Altman, but its heart is in the right place and Drameh impresses.
  51. Daniel Craig makes a decent fist of the narration. But you could also do without its gush about the “incredible journey” all beings on the planet share.
    • 76 Metascore
    • 60 Critic Score
    Mud
    More accessible than "Take Shelter" but not as powerful, Mud boasts stunning photography, a mesmerising lead and a strong evocation of Americana. McConaughey’s gold run continues…
  52. It’s not without its moments, but more comic dexterity and less brute force would have made a less choppy watch.
    • 41 Metascore
    • 60 Critic Score
    A fun if sporadically schizoid return to one of the brighter, brasher comic-bookers of recent years.
  53. The portentous narration, restless visuals and whimsical ghost characters (an unexpected Night at the Museum-style Napoleon) combine to make a thoughtful case about the inevitable interweaving of art and war.
  54. Given the weighty themes of Moby Dick, In The Heart Of The Sea doesn't have a lot going on behind the outward action. The composite parts are in fine working order; it's the sum that's slightly lacking.
    • 76 Metascore
    • 60 Critic Score
    Though set in a divided country, it’s an effervescent period piece, edited with verve: Persiel combines recreations with archive footage, animation and home videos.
  55. Although a bit over-neat in its contrasts between the respective families, Like Father, Like Son remains an affecting film, thanks to Fukuyama’s understated turn and Koreeda’s typically graceful visual storytelling.
  56. Everybody does indeed have a plan in Ana Piterbarg’s ponderous Argentine noir – problem is, they’re all terrible.
  57. All politics and posturing, the first two-thirds of the film are stiff and uninvolving, and although the climatic 45-minute free-for-all is genuinely spectacular, it’s clear where the director’s heart lies.
  58. Sporadically engrossing, its highlight is a brilliant recreation of an all-night dance-a-thon at that northern soul mecca, the legendary Wigan Casino.
  59. Exciting, in places, though a stranger to subtlety, it ticks all the genre boxes, but there’s something about its knowing noirisms that feels superficial rather than soaked-in.
    • 43 Metascore
    • 60 Critic Score
    Kirk, who wed Fischer in 2010, perfectly captures her all-thumbs charm, and ubiquitous character actor Messina steps into the lead with ease, showing off some impressive mime skills to boot.
  60. A solid outing for a re-Bourne hero that could, with a few key tweaks, generate another round of vehicles for the Clancy cash cow.
  61. Uplifting it isn’t, but there’s poetry to be found in these desperate lives, and Riccobono never judges or sensationalises his subjects. Sensitive, if slightly unfocused.
  62. Adams is as watchable as ever as Margaret, backed by fine support, but the problem lies with Waltz. He’s more caricature than character, and Burton proves unable to harness his energy as well as Tarantino did.
  63. Harper’s well-appointed sequel has strong performances even if the Woman becomes a supporting character in her own tale.
  64. Amy Schumer is a force to be reckoned with – but despite some belly laughs Trainwreck doesn’t quite transcend the romcom formula like the best of the genre.
    • 34 Metascore
    • 60 Critic Score
    Pegg works wonders, but you’ll wish the concept had been pushed further, that there was more to the Pythons’ ‘reunion’ – and that Robin Williams had found a funnier swansong.
  65. Interesting, but others have explored similar themes far more effectively.
  66. It doesn’t exactly soar and the lack of levity grates, yet the Spooks movie still delivers some appealingly old-school mayhem.
  67. A classy cast and Frears' light touch can't help this innocent abroad dramedy into the winner's enclosure. More jeopardy, less laboured larking, and it could've romped home.
  68. It’s not groundbreaking, but the impressionistic approach at least strives for more than your standard-issue bio.
    • 50 Metascore
    • 60 Critic Score
    As a shocker, Scott Stewart’s (Priest) film is solid, but it’s the thoroughly depressing backdrop that you’ll take away.
    • 46 Metascore
    • 60 Critic Score
    A taut, tense yet hugely indebted debut, Ruairí Robinson’s survival horror manages to break free from its low-budget limitations but is hamstrung by its own love of the genre.
  69. As much as Nicholas Jarecki’s debut feature simmers, it never quite boils.
  70. Jordan’s apparent resolve to make an anti-Twilight unfortunately results in a movie that, if not for a fistful of moments of shock, style and excess, would be as drained of colour and tension as Ronan’s victims are of hemoglobin.
  71. For all its attempts to expand the original’s ensemble and embellish its themes, Dory is cod in batter beside Nemo’s smoked salmon. But still tasty.
  72. Choosing quantity over quality, intensity over tension and big-screen thrills over low-fi shocks – this is probably what the zombie apocalypse will actually look like.
  73. There’s creepy dolls, cameras tipped on their side, blasts of white noise and a horny teenage Scooby gang helping Jared Harris’ Oxford prof stir up a poltergeist in the mind of a moody emo girl (Olivia Cooke).
  74. Ellis has a real flair for action – the assassination scene is heart-stopping – but patchy accents, strange pacing and an overstretched budget nearly scupper proceedings.
  75. Looser, more conventional, and highly dependent on the enjoyably rambling bro-banter of NickKurtDale Inc, Horrible Bosses 2 is a mostly-cosy caper that gives off rather less blackly comic energy than its predecessor.
  76. Sagnier is appealing in her first real romantic role and there’s Gallic charm galore.
  77. The result is a love letter to the giallo genre spelled out in cut-up ransom-note writing – striking, but impossible to read.

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