The Telegraph's Scores

  • Movies
  • TV
Select another publication »
For 2,517 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Cantona
Lowest review score: 0 Cats
Score distribution:
  1. Positive: 1,206 out of 2517
  2. Mixed: 1,133 out of 2517
  3. Negative: 178 out of 2517
2517 movie reviews
view
per page
  1. Supergirl
    Craig Gillespie, who previously directed Cruella and I, Tonya, does contrive one or two dynamic CG brawls. And his flashbacks to Krypton and Earth – obligatory franchise infill that they are – provide a bit of welcome variation. The rest, though, is a chore: like watching an endless orangey-grey rehash of scenes from Mad Max and Star Wars.
  2. Disclosure Day
    With its ruminations on everything from responsible government to humanity’s innate religious drive, Disclosure Day is unquestionably a big swing. But with Spielberg, big swings should be a given, and this one only glancingly connects.
  3. Savage House
    There are duels à la Thackeray. There are classical snippets borrowed from sundry Kubrick soundtracks for added pomp. But, unfortunately, there’s never a real reason to stay this grim film’s course.
  4. Moss & Freud
    The film lays out all these facts quite vividly, but the insights it’s peddling into art and beauty never get below the surface. It’s a deeper dimension – truth – that eludes it.
  5. John Lennon: The Last Interview
    Deploying AI to resurrect John Lennon himself, even for a moment, is the one temptation he resists, thank God. But this cloying, nothing-to-see-here experiment is the next worst thing.
  6. The Unknown
    You want The Unknown to go on the attack, or go wild, rather than dwindle into anticlimax. None of it needs an explanation – but it could have done with a point.
  7. Her Private Hell
    It’s all fun in the heat of the moment – or more often the chill of it – and the physically constructed city itself is a wonder. But we already know that Refn can do this stuff in his sleep. As the credits roll, you may be left wondering: what else?
  8. Bitter Christmas
    If you wanted to be mean about Pedro Almodóvar’s new film, you could call it complacent. On the other hand, if you wanted to be generous, you could call it a spry deconstruction of artistic complacency. In reality, it’s both.
  9. Star Wars: The Mandalorian and Grogu
    Everything Disney needed to revive the franchise after its seven-year absence from cinemas is in here. The problem is there is only around 20 minutes of it, and much of the rest is hopeless.
  10. Hope
    You could abandon Hope for an entire hour in the middle without missing much. There’s no denying the kicks we get either side, but there is a sharper, more satisfying 100-minute film fighting to get out here.
  11. The Christophers
    There’s enjoyment to be had watching McKellen, 86, gamely pecking away at the role, snacking on morsels in every scene. If only he’d been given a fuller feast.
  12. Kiss of the Spider Woman
    Puig’s story is trivialised by slickness, and the tragic ending barely registers.
  13. The Sheep Detectives
    The Sheep Detectives is a profoundly odd viewing experience – entirely pleasant, lightly funny and easily absorbed, yet every so often you find yourself thinking hang on a minute, I am watching a flock of sheep investigate a murder, and feel like you are having a stroke.
  14. Mother Mary
    Is Mother Mary a comment on modern stardom? Or the study of an intense, broken relationship? Or is it just an excuse for two hours of sculptural close-ups and artfully creepy tableaux? As you watch, you find yourself continually grabbing at meaning but, like a ghost, your fingers slip straight through.
  15. The Wizard of the Kremlin
    It’s smart and watchable in a miniseries sort of way, and sets the current war in Ukraine in an instructive wider context – while Dano is ideally cast as the unreadable vizier serenely pulling strings behind the scenes. But it’s also overlong.
  16. Outcome
    It has a weird, half-finished vibe, with a lumpy, repetitive structure, a bizarre colour palette that resembles an exploding Tango Ice Blast machine, and too many scenes that wear on well beyond their natural usefulness.
  17. Michael
    The performances are great, the rise-to-fame story gripping, and the music and choreography are making my skin tingle. I can’t wait to see how they’re going to deal with the trickier stuff.” But then you do wait. And wait. And then the credits roll, and you’re left waiting still.
  18. The Super Mario Galaxy Movie
    It’s testament to just how bad the original Super Mario Bros Movie was that this sequel can be a noticeable improvement in every respect – animation, storytelling, humour, vocal performances, you name it – while still comfortably qualifying as absolute rubbish.
  19. The Drama
    Norwegian director Kristoffer Borgli (Sick of Myself, Dream Scenario) likes his black comedies of discomfort to make us squirm, as does producer Ari Aster. But this film is skimpier on insight than the best work either has done, and Daniel Pemberton’s poignant flute score deserves to be in a more mature film.
  20. How to Make a Killing
    It isn’t especially funny, and I’m not even sure that it’s meant to be.
  21. Peaky Blinders: The Immortal Man
    It’s stylish, yes, it has verve and swagger and real love for the time and the place. But this is Tommy Shelby and the Peaky Blinders playing their greatest hits on what feels a little like a farewell tour. Those peaks just aren’t as razor-sharp as they used to be.
  22. The Bride!
    A wildly arresting performance from Buckley is not enough to save this generic and uninspired adaptation.
  23. Dreams
    The film has bite without a lot of nuance.
  24. Scream 7
    The film gropes around for novel gimmicks – is the killer’s identity being deepfaked this time? – and tries to placate its fanbase with a few moments of gratuitously icky, mean-spirited gore. And goodness, it plods.
  25. The Moment
    The Moment is an alienating, glitchy mockumentary imagining something that never happened.
  26. Mercy
    The film mechanically ticks by, while showing no evidence of a soul.
  27. Primate
    The film has been put together like a machine to rattle you. It does that. I didn’t care for anyone on screen at all, and can’t say I’ll ever be tempted to watch it again, but here it is, for the delectation of a niche market.
  28. Send Help
    Send Help is a strained disappointment from Raimi, who proved in Drag Me to Hell that he could sock an original concept to us and go sensationally OTT. Motivation was always on the money in that one; here it goes berserk, and not in a fun way.
  29. The History of Sound
    The History of Sound has fashioned a deliberate non-epic from wispy material, keeping such a tight lid on sentiment, it’s like an obstinate clamshell with its secrets. Expectations need recalibrating beforehand so as not to feel lightly underwhelmed.
  30. Saipan
    It’s a watchable national identity crisis in microcosm.
prev
Page:

Top Trailers

See all »
See all trailers »