Total Film's Scores

  • Movies
For 833 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Dark Knight Rises
Lowest review score: 20 Devil's Due
Score distribution:
  1. Negative: 17 out of 833
833 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
    • 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.
  3. 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.
  4. 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.
  5. 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.
  6. Lawrence’s mechanised menagerie and the directors’ stereoscopic smarts entertain most.
  7. 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.
  8. The vagueness won't win Dumont new fans, but his enigmatic allegory of intertwined good and evil does linger in the mind.
  9. 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.
  10. 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.
  11. The thematic weight drags down the tension, yet just when it seems Janiak has forgotten the scares she pulls off a creepy finale.
  12. 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.
  13. 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.
  14. The script keeps its gloves on but Gyllenhaal gives his all, notching up one of his very best performances.
  15. 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.
  16. 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.
  17. It's a must see for fans of roar footage.
  18. [A] memorable, conventional account of a true maverick.
  19. 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.
  20. 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.
    • 51 Metascore
    • 60 Critic Score
    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.
  21. 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.

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