The Telegraph's Scores

  • Movies
  • TV
For 1,779 reviews, this publication has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 1.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Score distribution:
1779 movie reviews
  1. The animation is technically wondrous – the colour and detail amazes, while the Minions themselves have never looked more bouncily robust – but it’s always in service of the overriding slapstick agenda. Even the flat, side-on compositions – less than ideal for showing off graphical prowess – feel like knowing evocations of the deadpan staging of vintage cartoons.
  2. It’s the film that’s hell – and a very dull, desperate hell at that, as if these dungeon masters have realised we aren’t sufficiently scared by the main event, and try throwing the kitchen sink at us, almost literally.
  3. In terms of sheer energy and invention, it more than holds its own, and boasts action scenes whose wit, vibrancy and gracefulness make Lightyear look low on batteries.
  4. It’s enjoyably acted and astutely put together, with plot details that bleed out at just the right speed. But it lacks the thrilling existential dizziness and lingering chill of Alex Garland’s Ex Machina, to which it owes a considerable and obvious debt: in fact, it’s essentially the Ex Machina you can follow while making cups of tea and checking your phone, which may be all that Netflix wanted from it.
  5. Perhaps some blind spots were only to be expected: there’s more to this topic than a single feature could possibly cover, particularly a debut one. But Thyberg knows which angles she wants to work – and my goodness, does she go for it.
  6. It would be hard to overpraise Burghardt, a debuting actress on the spectrum whose scenes are so tender, relaxed and generally sweet she deserves at least half the credit.
  7. For perhaps the first time in the studio’s canon, every idea in this ‘origin story’ of the Toy Story astronaut feels woefully half-baked.
  8. This is a film as delicate as dripping water, with depths that are quietly waiting to be plumbed.
  9. This is at the very least a beautifully designed failure, marrying crepuscular photography with faultless art direction, and blessed by a gorgeous, otherworldly score by Augustin Viard, a specialist in the ondes Martenot. It looks and sounds so darkly inviting – but sends you home unsated.
  10. With its watch-through-your-fingers cringe factor, this is an excellent black comedy of amiss-ness all round. It’s about millennials, their fibs, and their failures.
  11. This series' sixth film has a daft plot, groans with lousy action and makes the poor old dinosaurs humiliatingly surplus to requirements.
  12. What keeps it on its feet is the snappy direction of Jeremiah Zagar, a Philly native who shows off his home town with unmistakable pride, and has a lot of vivid strategies for what the camera’s doing (there are more time-hopping match cuts than I could count) or which song to put on top.
  13. The moment-to-moment incoherence of Dashcam makes it maddeningly hard to figure out what’s happening – the “WTF?”s that appear in the chat-box might just as well be our own. There’s a certain delirious energy to it.
  14. It’s a witty and affectionate if rather slight archive documentary.
  15. Achieving the gossamer profundity of one of Alice Munro’s short stories, her film is about the uninterrogated privileges success brings and the envy they can easily spawn.
  16. Serraille, whose debut feature Jeune Femme won the Camera d’Or at Cannes in 2017, has returned with a film that feels like a jewellery box of telling moments: there is precious stuff here, and real sparkle too.
  17. Close is a great film about friendship, but perhaps an even greater one about being alone.
  18. All his usual strengths fail him in a different culture here, perhaps because the veneer of venal cynicism that ought to be the film’s top layer is so easy to scratch through. Digging for the pathos hardly takes us long, especially with one of the director’s most cloying scores handing over a shovel.
  19. The film’s craft, with its shivery wooded landscapes and deep focus, is consistently strong, and the acting – especially from State, but also many of the bickering village ensemble – spices up what might have been a route-one polemic.
    • 64 Metascore
    • 80 Critic Score
    It is first and foremost a picture of her, but it is also a picture of us; and just as Jennings did in his wartime documentaries, it reminds us not just of her profound decency but also, oddly enough, of ours.
  20. It’s profoundly compelling, expertly made, and quite intentionally horrifying.
  21. Stars at Noon is at its best when it has Trish and Daniel suspended in horny limbo, with Denis building an atmosphere of sultry languor that makes the film feel as if it’s constantly stretching and circling, like a sleepy cat.
  22. Yes, it’s a bright and splashy jukebox epic with an irresistible central performance from Austin Butler . . . But in that signature Luhrmann way, it veers in and out of fashion on a scene-by-scene basis: it’s the most impeccably styled and blaringly gaudy thing you’ll see all year, and all the more fun for it.
  23. It wouldn’t be quite right to describe Mark Jenkin’s Enys Men as a horror film. Rather, it’s the kind of thing the victims in a horror film might watch, just after pulling it from the cellar of a derelict harbour cottage, and shortly before succumbing to some blood-curdling maritime curse.
  24. The shot-making is sensational, and the film knows it; the camera does things you’ve never seen before, say with focus in an interrogation room mirror, and the whole saga’s edited as though Park can’t wait to show you what’s up his sleeve.
  25. Moonage Daydream, a wildly creative tribute to everything Bowie achieved over four and a half decades, sets a sky-high bar as cinematic fan-service, and it leaves you buzzing.
  26. Seydoux gives the film’s best performance: even wrenching moments are played at a glassy remove. But unlike Cronenberg’s Crash, which shook Cannes to the core in 1996, there’s no shock of the new in Crimes of the Future – a crucial requirement for every true festival coup de scandale.
  27. The film has a beguiling looseness – it captures that familiar holiday feeling of good days and bad days, or moods turning for no particular reason, other than maybe spending a bit too long in each other’s company.
  28. Seydoux has unfakeable chemistry here with a perfect-as-usual Poupaud, the leading man in French cinema who seems most incapable of putting a foot wrong.
  29. The points of Östlund’s Triangle are far from subtle. Vanity is toxic; fortunes corrupt; everyone loves to see an Instagrammer getting their comeuppance. But across its well-earned two-and-a-half-hour running time, epic schadenfreude keeps edging into genuine sympathy, and we feel just sorry enough for these awful people for the next humiliation to sting just as hard.

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