The Telegraph's Scores

For 59 reviews, this publication has graded:
  • 52% higher than the average critic
  • 6% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average TV Show review score: 70
Highest review score: 100 Dracula (2020): Season 1
Lowest review score: 20 Turn Up Charlie: Season 1
Score distribution:
  1. Positive: 29 out of 29
  2. Mixed: 0 out of 29
  3. Negative: 0 out of 29
29 tv reviews
    • 79 Metascore
    • 60 Critic Score
    A sweet, conventional drama with lovely performances: Connor Swindells stands out as the unhappy and secretly gay Adam. But the show is less groundbreaking than it thinks. I’m showing my age, but I think John Hughes did it better.
    • 63 Metascore
    • 60 Critic Score
    It is all deeply weird. But maybe life inside the Vatican is just that?
  1. Messiah is a New Year’s curio that doesn’t know whether it wants to be an esoteric rumination on leadership and hope or a spy romp with New Testament bells on. ... The real twist, however, is how divinely underwhelming the whole thing is.
  2. All jokes eventually run their course. And Gervais’s committed but thin performance was like the worst sort of Hollywood sequel: brimming with quips and callbacks, lacking anything new or daring.
    • 66 Metascore
    • 60 Critic Score
    John Carney’s series mutes the rich diversity of those experiences to one, long, neutral-toned lifestyle advertisement designed to flatter the paper’s readers and Amazon Prime’s viewers.
    • 84 Metascore
    • 100 Critic Score
    The Crown remains, by far, the best soap opera on television.
  3. Yes, the result is shallowing, but there is scope, too, for us to fill in the blanks ourselves. But that is what Living with Yourself ultimately is – a comedy that asks the big questions but doesn’t look too far for the answers.
    • 66 Metascore
    • 100 Critic Score
    Although the relentless superficiality of the characters gets tiring, it allows you to keep laughing as they double cross and second guess each other at a turbocharged pace. There’s fun to be had at the expense of the premise of the school as a microcosm of American society.
  4. Attempts to create a running thread by fleshing out the police team’s relationships – office politics, post-work socialising, workplace affairs, unrequited crushes and competitive jostling to advance their careers – fall a little flat. You find yourself impatient to get back to the main battle of wits. Despite such flaws, though, Criminal grips, beguiles and keeps you guessing.
    • tbd Metascore
    • 100 Critic Score
    A beautifully paced and powerful return. Bennett’s tight, compassionate scripts touch on everything from the impact of Brexit to the increased presence of immigration officers without ever forgetting that this is at heart a story about a community and the ties that bind filled with believable, beautifully written characters, many of whom may well break your heart.
    • 83 Metascore
    • 100 Critic Score
    Unbelievable isn’t just a gripping story, it’s an incredibly compelling argument for why we need to take a frank look at the way victims of sexual assault are treated and how seriously we take them.
    • 58 Metascore
    • 60 Critic Score
    Carnival Row is not the next Game of Thrones, but that doesn’t mean it isn’t doing a good job of being its own thing entirely. If it could just take itself a little less seriously next series, please.
    • 80 Metascore
    • 60 Critic Score
    Overall, GLOW has still got just enough shine to hold our interest on one of those “we’ve watched all of Netflix, now what?” evenings, but since the change of scene card has already been played just three seasons in, we’re not sure if the fun and drama can be sustained for another run.
    • 81 Metascore
    • 60 Critic Score
    There are so many characters with so many varied issues that we can be left feeling a little short-changed.
    • tbd Metascore
    • 80 Critic Score
    Queer Eye knows what it wants to do, and it does it well. Season four isn’t breaking new ground or tackling wildly different challenges, but that doesn’t stop it from being utterly wonderful TV.
    • 65 Metascore
    • 80 Critic Score
    Some episodes in series three feel very flabby, and there are some ridiculous plot holes. ... Even so, it’s wildly enjoyable, and a relief to see that after a slow series two, Jessica Jones has returned to form.
    • 63 Metascore
    • 80 Critic Score
    Sexy, funny, touching and somehow as bright and relevant now as it was 25 years ago, if this is the last hurrah for the Tales of The City franchise – and with so many stories wrapped it, it certainly feels that way – it’s a good one.
    • 86 Metascore
    • 40 Critic Score
    This was mostly one for the dedicated fan, who remembered all the old songs. Some things are better left undone.
    • 86 Metascore
    • 100 Critic Score
    The emotional weight of Duvernay’s respect for the physical and emotional facts settled slowly in your stomach. You wanted to cheer when the wrongful convictions were vacated. But the sight of the now grown men returning to their childhood bedrooms hollowed the triumph.
  5. Stiles made for a curiously unengaging protagonist. Blank-faced and monotonal, she was presumably intended to be enigmatic, but instead sucked the life off the screen. Indeed, amid all the pampered beauties and stubbly playboys, it was hard to find anybody to like, let alone root for.
  6. There were gags about sex, blood and death, plus worshipful nods to Twilight and Interview with a Vampire. Whether the basic joke is enough for a whole series remains to be seen.
  7. Like a garage remix of Nick Hornby’s About a Boy, feckless Charlie and friendless Gabby begin to bond, learn from each other and become (pass the sick bucket) better people. Unfortunately, the early episodes are so unremittingly awful that surely only masochists or Elba family members will make it that far.
  8. The film has to pick its way through some troubling thickets of motive, and frames earlier denials as proof of the psychological damage he wrought. Setting about this side of things with necessary tact, Reed bolsters the case using only the building blocks of what these two families have to say. No authorities weigh in, no lawyers. The purity is that it begins and ends with survivor testimony, chillingly credible in its details, from Safechuck and Robson.
  9. Not terribly fresh, then, but still huge fun.
  10. As a production, it is incredibly stylish. Clearly a fair bit of money has been spent here. And there are enough good ideas in its multifaceted story to please some fans of the comic book – and comics in general. But if it does return for a second run, it would be nice to see some more genuinely fresh ideas – without the over-reliance on tried, tested and tired tropes from years past.
    • 75 Metascore
    • 80 Critic Score
    Some of those series – like Netflix’s 2019 retro-rubbernecking of the Ted Bundy killings – offer little fresh analysis. Others – like ESPN’s 2016 OJ Simpson: Made in America – provide a powerful and disturbing insight into the historic fault lines in our culture. Lorena definitely fits into the latter category.
  11. This is a comedy about mental health that deftly preys on your fears and pricks your sympathies. At the same time there was a gratifyingly high gag rate.
  12. It’s tremendous fun. ... As a bloody caper, City on a Hill is a little bit in love with itself, but it kind of knows it so should be forgiven.
  13. The USP of Das Boot 2.0 is that the underwater drama has to budge up to make room for landlubberly intrigue involving the resistance. On the plus side there’s Vicky Krieps, who was so ineffable in the film Phantom Thread, as Simone Strasser, a wartime translator from Alsace caught on the horns of a dilemma. ... Somehow it’s odd that she should be the best thing in a testosteroney drama about blowing up convoys.
    • 49 Metascore
    • 40 Critic Score
    None of the characters has the quirky appeal of the original Four Weddings crew, and nothing remotely believable happens unless you would find it normal for Emeli Sande to bust out from behind a curtain at a wedding and warble in the aisle.

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