The Telegraph's Scores

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For 2,493 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 0.7 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: 1,195 out of 2493
  2. Mixed: 1,123 out of 2493
  3. Negative: 175 out of 2493
2493 movie reviews
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  1. Ferrari
    The crash scenes have a horrible heart-in-mouth quality: it’s as if you can feel the tumble of gravity working on your own insides. And the same goes for the racing itself, which like the vehicles is somehow sleek and crunchy all at once – inches from disaster at any given moment, and all the more beautiful for it.
  2. Elle
    Elle forces you to critically confront every myth it indulges, every cliché it embraces and subverts.
  3. Right Now, Wrong Then
    No director working today can carry out this kind of heavyweight emotional excavation with such feather-light flicks of his trowel. That’s Hong’s gift, as counterintuitive as it is unique: he makes molehills out of mountains.
  4. Parallel Mothers
    Even when Almodóvar plays on easy mode – and nothing about Parallel Mothers could be described as difficult – the results are irresistible.
  5. EO
    Bizarre, beautiful, moving and playful, this is an oddity to cherish, with depths that only reveal themselves – entirely aptly – on the hoof.
  6. Le Week-End
    Sophisticated, sharp and funny, Le Week-End achieves an unusual coup: it’s a film about two older characters that is neither deeply gloomy (like, say, Amour) nor twinkly and cheerily upbeat.
  7. Frozen
    Just squeezably lovely.
  8. American Animals
    It’s really the style and performances, more than the pseudo-experimental structure Layton has chosen, that keep the film grabby.
  9. Elysium
    In lesser hands, Elysium might have played like a Lib Dem manifesto with extra spaceships, but the South African filmmaker wants to explore ideas, not wave placards, and whether or not you agree with the film’s politics, the fire in its belly is catching.
  10. Hypnotic
    An entirely uproarious 90 minutes at the cinema which asks nothing more of its audience than that they keep their incredulity suspended for just a few seconds longer and keep enjoying the ride.
  11. La Chimera
    The further down the film descends, the more transfixing its images tend to get, as if Rohrwacher and Louvart have teamed up on an archaeological dig for their own treasures of texture and light.
  12. Valerian and the City of a Thousand Planets
    Valerian is a film to wallow in, not follow, and if you’re tuned to its extra-terrestrial wavelength, you wouldn’t cut a second.
  13. Transformers: The Last Knight
    If you’re not staggered by the technique on display here – the stuff that sets Bay’s work miles above the Fast & Furiouses, X-Men: Apocalypses and Tom Cruise-chasing Mummies of this world – you’re not paying attention.
  14. Fair Play
    First-time writer-director Chloe Domont beats a sly, perceptive path across this tricky psychological turf.
  15. The Hole
    Director Joe (Gremlins) Dante delivers some terrific spine-tingling chills on the way towards a disappointingly overblown climax.
  16. Mudbound
    Mudbound’s brutal climax is a shock and an affront in all the ways it must be – and though the film is a little wobbly up front, it’s fully worth wading through.
  17. Juror #2
    The moral maze of the premise is tautly negotiated. Shrewd casting helps, as does Eastwood’s trump suit: a forensic seriousness of purpose. Grappling with the mechanisms of justice and the workings of a lone conscience, he puts both in the scales, and no one’s off the hook.
  18. Star Trek
    This is a grand success – perhaps a new populist benchmark in what to do with a flagging franchise, and a witty, light-on-its-feet prequel.
    • 81 Metascore
    • 80 Critic Score
    Duel
    What's clearer about Duel now is its rawness and bleakness as a picture of American life and troubled American little-man masculinity. [19 Mar 2005]
    • The Telegraph
  20. The Colors Within
    It’s an intimate film with a roomy embrace.
  21. The Bad Guys 2
    Anyone interested in animation needs to pay attention to what these films are doing. The writing formula may be crude, but the whiz-bang aesthetic is sensational.
  22. Bring Her Back
    It’s the opposite of a gateway horror for the trepidatious. It beckons in the brave.
  23. Kinds of Kindness
    As for kindness itself, I can’t say much jumped out on a first viewing, unless it was of the you-have-to-be-cruel-to-be sort. But it’s exactly the sort of film that makes you want to look again.
  24. Wake Up Dead Man: A Knives Out Mystery
    It all pays off elegantly when Blanc delivers his grand summing-up, a sequence which in vintage Knives Out fashion playfully subverts the cliché – but not too briskly to break it and spoil the fun.
  25. Lucy
    It’s the blockbuster of the summer.
  26. Weathering with You
    Though Weathering With You tells a story of a makeshift family enduring uncertain times, its dominant emotion is amazement – at the power and persistence of first love, and the everyday wonders of the world in which it flourishes against the odds.
  27. The Sea Beast
    In terms of sheer energy and invention, it more than holds its own, and boasts action scenes whose wit, vibrancy and gracefulness make Lightyear look low on batteries.
  28. Thor: Ragnarok
    The greatest trick this studio wants to pull, at this point, is to make more of the same feel either exhilaratingly fresh, or sufficiently retro-inflected to qualify as a nostalgia trip. As both, Thor: Ragnarok counts as some kind of double peak.
  29. Small Things Like These
    Keegan chose a man of few words to make his stand, and Murphy, very much the man of the moment, steps up to play him with a heroic understatement that could move mountains.
  30. Sharper
    The endgame could be… sharper. There’s an elaborate hoax that’s too easy to suss out – even for us, and we’re not the seasoned con artists on the receiving end. At this point, the film’s own confidence seems to falter just a fraction. Then again, the chinks in these crooks’ cynical armour are what give it texture, a mottling of human desperation. Instead of smug gotchas, it traffics in mistakes.
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