The Telegraph's Scores

  • Movies
  • TV
For 1,388 reviews, this publication has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 1.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Shape of Water
Lowest review score: 0 Cats
Score distribution:
1388 movie reviews
    • 84 Metascore
    • 100 Critic Score
    And there we were thinking the stage recording of Hamilton was going to be the best thing on Disney+ this summer. Fools! Yes, Hamilton has songs, but does it have motorbikes? Synchronised swimming? Beyonce singing on the moon in diamonds? Naomi Campbell? I haven’t even got to the poodles yet.
  1. As a psychothriller, it gives itself one simple assignment – to set your heart rate pounding through the roof. And on this level, with a lurid voltage that might require health warnings, it nastily delivers.
  2. The movie sorely needs a tighter edit, and direction from Apatow that isn't so slapdash and sitcommy.
  3. Sleekly enjoyable.
  4. One of the great pleasures of the collection is watching human ingenuity at work almost in real time, as each filmmaker in turn fathoms what’s possible, then keeps pushing, to regularly thrilling effect.
  5. Sending up the Eurovision Song Contest is like flattening Salisbury Plain: one quick look at the thing should be enough to reassure you that the job took care of itself long ago. Nevertheless, Will Ferrell has decided to give it a shot, and the result is this pulverisingly unfunny and vacuous two-hour gauntlet run of non-tertainment.
  6. What’s striking about the film’s tone is its redemptive warmth. Though the details are chilling, it’s as if a cathartic space has been opened for these girls and their families to explain what they went through.
  7. The film tries to scale a gargantuan mountain of a subject – the broken voting system – and just keeps slipping repeatedly down the sides
  8. There’s enough in Mr Jones to make you want a good deal more.
  9. The end product is all but unfollowable, thanks either to a screenplay that was incoherent to begin with, or an edit so slicingly brutal that almost every trace of the plot’s connective tissue was chopped out.
  10. With a story that straddles two generations and stretches from Trump’s United States to the Vietnam jungle, Da 5 Bloods is one of Spike Lee’s most expansive films to date. But it’s built with the precise, snap-shut mechanisms of an ancient moral fable – a Pardoner’s Tale made about and for unpardonable times.
  11. Sometimes it just takes one actor to elevate a film from innocuous, take-it-or-leave it fare into something winningly tender – and if your first film’s needing that kind of lift-off, you could hardly do much better than Monica Dolan.
  12. The existential crises of music industry hotshots in Los Angeles might struggle to mark it out, to say the least, as a film for our moment. At the same time, it’s a refuge – a balmy vision of cloudless blue skies, rooftop martinis on someone else’s tab, and a few soulful jamming sessions in a recording studio no one’s using. You could disappear into Nisha Ganatra’s film for a couple of hours and easily forget where the evening went.
  13. If you're a fan of hers, you've heard it all before. Still, if you're a fan of hers, there is plenty here to enjoy.
  14. Like its absurdly named hero, Extraction gets a serious and deeply silly job done in style.
  15. Incoherent two-hour fantasy epic isn’t quite accurate: it’s more of an incoherent one-and-a-quarter-hour fantasy epic, plus an all-star warm-up.
  16. Quietly disturbing but also darkly amusing to the end.
  17. To watch it is to be waterboarded by joy. In terms of both visual dazzle and invention and sheer comedic stamina and pep, it handily surpasses the original Trolls from 2016, which itself set an impressive new standard for films based on novelty keyrings and pencil toppers.
  18. Elephant is set in a world without poachers, developers or tourists: the picture it paints is beautiful and educative, but doesn’t feel quite complete
  19. If you want to watch an elaborate metaphor being wrung out like a bathing suit for an hour and a half, The Platform might be the film for you.
  20. The film is close to parody – not of anything Potter’s ever done, but of male artists and their obsessive end-of-life regrets. If you’d told me it was a shelved adaptation of late Philip Roth done by Alejandro González Iñárritu in Birdman (or Biutiful) mode, I’d have believed it in a shot.
  21. If Hollywood really is an elite liberal bubble, Damon Lindelof might just be the prick it needs.
  22. A wild and righteous provocation.
  23. Thanks to one of the most indestructible poster campaigns ever designed, the words Les Misérables can’t help but call a child’s face to mind.
  24. In a classic Brit-com flanking manoeuvre, the film tries to simultaneously reduce the viewer to tears while inviting us to bask in the fuzzy glow of our friends and neighbours’s innate decency. Luckily it succeeds, thanks in no small part to the commitment shown by Horgan and Scott Thomas.
  25. An unfashionably male art film of Nietzsche-quoting, Tarkovsky-adjacent bent that’s ghoulish, baffling and rather brave.
  26. The film isn’t a write-off – well-handled, it could have had the sober dramatic voltage of Todd Haynes’s Dark Waters, which relates a now-familiar story of corporate malfeasance in a different place and time. The problems are of style, focus and intent.
  27. Starting her film with an aphorism of William Blake’s – “The bird, a nest; the spider, a web; man, friendship” – she not only does justice to the human end of this equation, but looks out for a rare spectrum of the animal kingdom into the bargain.
  28. Buoyed by an appealing duet of star turns from Margaret Qualley and Sigourney Weaver.
  29. Leigh Whannell’s film – one of the smartest and scariest yet to roll off the production line at horror specialists Blumhouse.

Top Trailers