The Telegraph's Scores

  • Movies
  • TV
For 1,463 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
Highest review score: 100 Inherent Vice
Lowest review score: 0 Cats
Score distribution:
1463 movie reviews
  1. The United States vs Billie Holiday might be all over the shop – a tatty red carpet for its much-ballyhooed star turn. But this other Lady Day still seizes her moment.
  2. The cast’s performances are all so beautifully observed that you may end up wishing the film had given their characters a few more moments of quiet.
  3. An assortment of myths are exploded in Zappa, the baggily engaging docu-portrait directed by Bill & Ted star Alex Winter.
  4. Dropping its leash on a star who needs one, the film mistakes decrepitude for drama, and the closest it gets to mid-scene narrative suspense is wondering whether Al Capone has just let himself go with a number one or two.
  5. Blakeson (The Disappearance of Alice Creed) doesn’t make images pop like the Coens, but he knows how to get a plot simmering, and he can milk a sit-down to perfection.
  6. The trouble begins with a seasick lurching between fantasy and reality, it’s redoubled by subject matter that can’t support that, and it hits a whole arpeggio of duff notes with the casting.
  7. Dead Pigs’s intermingling of grit and polish is hugely satisfying: a potent combination of pearls and swine.
  8. While unlikely to steer future comedy in any direction you could identify – it’s barely in control of its own running time, frankly – the film is genuinely silly, at a time when silliness is quite welcome.
  9. Macdonald and his team pull out enough affecting stories to hold your interest, whose scopes range from sweeping to intimate.
  10. You sense that Washington and Zendaya do both believe in the material, and they certainly throw themselves at it with gusto, but their best moments here are invariably the ones in which they’ve not been given anything to say.
  11. The film’s about a chapter we prefer to get out of the way in adolescence; revisited as this kind of helpless mid-life crisis, it’s exquisite torture.
  12. Strip away the wiring, and Cahill’s film connects most tangibly as a fable about drug addiction – hardly a shock, with all the crystal-obsessed scurrying to make one grey reality bearable, or switch to another outright. He’s had more ingenious ideas, but the whole thing’s strangely charming.
  13. Unusually for a contemporary western, News of the World makes no attempt to reinvent the wheel. Instead, it hammers it diligently back onto the axle, before striking out on a journey whose contours and pitfalls we already know well. Nevertheless, it’s a pleasure to experience it once more with companions like these.
  14. Alive to pulse-quickening details of body language and the conversational codes by which a dangerous friendship lives or dies, the film is a study in contrasts far beyond the monochromatic.
  15. In some passages, the film abides by the biopic rulebook more carefully than it needs to; its best moments are the ones where King and his cast create some tension then simply let it cook.
  16. Land will give you a craving to be in the great outdoors, maybe before it’s even over.
  17. Wheatley and his collaborators have produced something that some of us thought would be impossible: an outrageously entertaining film that feels utterly rooted in the bleak era in which it was made. Lockdown project or not, it’s a milestone.
  18. The tone oscillates between earnestness and mischief, a little uneasily. There’s a trippy, funhouse aspect to it which yields a couple of splattery punchlines, but it could have gone further in this direction
  19. Glass could hardly have asked for two more game accomplices than Clark and Ehle, who play the…well, the you-know-where out of their respective roles, and are both naturally attuned to the film’s murkily sensual, dread-laden wavelength.
  20. There is a special cupboard in Purgatory for films that are blissfully unaware of what they’re actually about, and a place is reserved on its shelves for Love Sarah.
  21. The irresistible comic elegance of the premise – a remarried widower is tormented by the ghost of his first wife – is lost in a mass of pointless embellishments and tinkerings.
  22. The general ineptitude is more likely to make you cackle in disbelief.
  23. As a bouncy childcare aid, it doesn’t exactly fail, but you might be better off asking an eight-year-old about that. It’s witless fare if you want the whole family entertained.
  24. The shape of its story is ultimately conventional, and the way in which it’s told can sometimes feel familiar – like a Sunday evening drama smuggling in big ideas. But the line it draws between the earthy and the ethereal stays with you: it’s a well-timed double dose of consolation and escape.
  25. Its supremely frank and unflinching treatment of its essentially taboo subject gives it a certain brandy-slug of consolatory warmth, despite the bitter chill that blows through most of its scenes.
  26. It’s a punchy, propulsive watch, blown along by snappy editing and a hip-hop-driven soundtrack that stresses that there’s still much fun to be had when hefty themes of inequality and geopolitics are being tackled. And honestly? There really is.
  27. Beneath the mounting contrivances, Dunne’s sturdy performance supplies an earnest core which Lloyd should have trusted more completely.
  28. Great animation can communicate wildly complex ideas with head-spinning clarity and wit, as Docter capably proved with Inside Out – a film which staged the interplay of emotions in an 11-year-old’s head like a vintage sitcom. If anything, Soul pushes this capacity for revelation even further: there are moments of true Blakean mystery and wonder here, expressed with a crispness that feels like a lightbulb snapping on above your head.
  29. This film leaves you itching to read a meaty biography, even as it solidly maps out Hepburn’s emotional life, and explains the relationship with trauma which cut her out so well to be a UNICEF ambassador, raising millions for Bosnian war orphans and Somalian famine relief.
  30. So if Wonder Woman 1984 is playing near you, should you pounce? If it even remotely appeals, I’d say absolutely – even though the film itself, a direct sequel to 2017’s Wonder Woman, is a bit of a marshmallowy muddle.

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