The Telegraph's Scores

  • Movies
For 1,311 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 2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Lost City of Z
Lowest review score: 0 May I Kill U?
Score distribution:
1311 movie reviews
  1. Robert De Niro is sensational in Scorsese's history-making mob masterpiece.
    • 72 Metascore
    • 60 Critic Score
    El Camino didn’t need to exist – but for fans who craved extra Jesse Pinkman in their lives, it hits the spot.
    • 38 Metascore
    • 40 Critic Score
    Those wonky de-aging effects and distracting frame-rate serve as trip-wires too. But what ultimately hobbles Gemini Man, more than all of that, is its refusal to buy into its own ludicrousness. It’s a slab of silliness that commits a terrible error: it takes itself seriously.
  2. The 22-year-old Van Patten is a more than capable solo lead: the breakout star of Noah Baumbach’s The Meyerowitz Stories, she has an invaluable knack for making her characters’ worst traits their most compelling features.
  3. If Blackbird shows us anything it’s that no matter how carefully we plan, life resists perfection, right up to the end.
  4. We know that this cast can produce magic together, and that this director can inject pace into unlikely topics. It’s just this one that seems to have feet of clay.
  5. Beyond its waspish wit, a dastardly roll-call of suspects and Daniel Craig’s dapper efforts as our presiding sleuth, the film gives nothing away until the bitter end, thanks to a head-spinning tricksiness of plotting that even Agatha Christie might have conceded was rather ingenious.
  6. As satire it’s a dismal dereliction of duty; as comedy, a one-note joke that wears out fast.
  7. The hesitancy of the storytelling, with its comforting lulls and odd delays, is a funny sort of boon.
  8. It’s staged, scored and cut together with an aggressively deadening quality, numbing your senses to the very impact it intends.
  9. This is a sober, stiff-collared procedural, handsomely shot but also oddly bloodless until the more conventional paranoid-thriller rhythms of its final act kick in.
  10. While it wouldn’t be entirely fair to accuse the film of having “bonus DVD content” written all over it, little here is, shall we say, incompatible with the hard sell.
  11. Watching it is like settling into a reupholstered armchair which still creaks in the same old places.
  12. Historical epics are rarely light on their feet, but The King sets new standards in the field of galumphing: the film moves like a rhinoceros through porridge.
  13. Skarsgård’s ripe performance, with its wicked childishness and sarcastic self-pity, remains an asset Muschietti knows how to use. But the Losers are a mixed bag, convincing less well as a unit than they did as children.
  14. Only when it reaches for all-out camp does this script truly tickle the pleasure receptors.
  15. Scary Stories hits with the scares as much as it misses with the storytelling, levelling out to a glass half full.
  16. The Mustang could have held more surprises, but as a landscape study – “Prison, with horses” – it’s ruggedly stunning.
  17. The film’s sincere core is threatened a little by its flashier directorial effects.
  18. The Informer is one of the year’s more pleasant genre surprises: a clenched fist of a crime thriller in the mode of The Departed or The Town, in which every element is just a notch smarter than you’d expect. Generic though the film may look, it holds together absorbingly, thanks to a sturdy script which ups stakes and adds characters with cunning and intelligence.
  19. As a two-hander it has some tension and promise.
  20. A part of me found Todd Phillips’s radical rethinking of the Batman villain Joker thrillingly uncompromising and hair-raisingly timely. Another thinks it should be locked in a strongbox then dropped in the ocean and never released.
  21. Sketchy it may be, but the film finds dreamy consolation in the final curtain.
  22. The film is way too much like a never-give-up Saga commercial for its own good.
  23. Emotionally, the film operates in a classic Gray area, with barely perceptible eddies that build to a mighty existential wrench. All of which, it should be said, rests on Pitt’s shoulders – which feel like very different shoulders, somehow, to the ones that slouched so appealingly through Once Upon a Time in Hollywood. His performance here is as grippingly inward and tamped down as his work for Tarantino was witty and expansive – it’s true movie stardom, and it fills a star-system-sized canvas.
  24. Marriage Story may often resemble a tug of war between its stars, but it’s on both of their sides.
  25. The film defaults to gentle comedy too often, and feels afraid to dig deep enough into its underlying themes to draw blood.
  26. Angel Has Fallen is almost worth seeing.
  27. While it’s fair to say that Transit isn’t aiming for a torn-from-the-headlines specificity about the issues of today, it could be accused of dodging some racial questions, and some of its Petzoldian gambits – including a love triangle that remixes Casablanca with sepulchral dabs of Vertigo – dampen its dramatic charge.
  28. As a masterclass in having as little fun as possible with an irresistible premise, JT LeRoy is a hard act to beat.

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