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. Parthenope
    We’ve had two-hours-plus to leaf through this empty life, but Sorrentino makes it amount to almost nothing, except his usual love letter to Napoli, and an added ode to side-boob.
  2. Blackhat
    Only Michael Mann could have made it. And thank goodness he did.
  3. Remember
    Egoyan, working from a script by first-time screenwriter Benjamin August, works hard to steer the premise away from crassness – and in Plummer, he’s blessed with a lead actor who can express Zev’s interior struggle with delicacy and dignified understatement.
  4. Coming 2 America
    This long-overdue sequel to the 1980s hit romcom is no masterpiece, but it’s full of slick cameos, zany set-pieces and eye-popping style.
  5. Insidious: Chapter 3
    It manages the all-important jump scares with the finesse of a skilled stage illusionist, but it’s the surprisingly sincere emotional core that makes it the pick of the series.
  6. Cuban Fury
    Cuban Fury belongs to an older, unfunnier time. Please let’s not go back.
  7. Trap
    The fact that Trap is 100 per cent ridiculous – like, off-the-chain barking mad, from the moment the plot kicks in – doesn’t stop it being a funfair ride that’s worth a spin.
  8. Death on the Nile
    Branagh exploits a star-packed cast to distract us in all directions. The trouble is, it sometimes feels like a dozen actors signed on, then drew lots to see who was playing whom.
  9. Eternals
    Perhaps the hope was that Marvel’s 26th film might rattle the franchise out of its comfort zone. But the franchise is nothing but comfort zone, which renders its latest entry an instant white elephant.
  10. 47 Meters Down
    It’s not the premise that’s the problem. It’s everything else.
  11. The United States vs. Billie Holiday
    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.
  12. Black Beauty
    In a story that could have offered a parade of vivid character roles, only Foy and Glen really register: a kindly park ranger (Hakeem Kae-Kazim) deserved more screen time, while the various surly faces on the Manhattan carriage-toting scene are only thinly defined.
  13. Murder on the Orient Express
    A shade more playfulness would have gone a long way. This Orient Express clatters handsomely along, but I left the cinema wishing it had had the nerve to jump the rails.
  14. Eleanor the Great
    There is a complex yet recognisable psychological dynamic at work here, and Squibb navigates the muddle of it nimbly.
  15. The Amateur
    Nothing about the plot or craft astounds, but the qualities above are all far rarer in studio movies these days than they should be, which makes The Amateur remarkable – in its own stonily workmanlike way.
  16. Ghost in the Shell
    There are moments which directly recreate Oshii’s best scenes, with real sets and actors performing a balletic kind of stunt-karaoke. But the story is far more graspable – more streamlined – and the gracenotes, action-free, tend to be the highlights.
  17. Magic Mike's Last Dance
    For the microscopic subset of cinema-goers who watch Magic Mike films for the plot, Last Dance may prove disappointing. Returning screenwriter Reid Carolin doesn’t come up with anything novel to do with the hackneyed let’s-put-on-a-show premise.
  18. Central Intelligence
    There may not have been such an awkwardly homoerotic bromance-seduction on film since Jim Carrey molested Matthew Broderick in The Cable Guy, but it’s one of Central Intelligence’s redeeming features that it’s generously forgiving, rather than nastily phobic, of Bob’s quirks.
  19. Silent Night
    It’s a hard film to recommend, but it works on its own gutsily perturbing terms.
  20. Alone in Berlin
    Pérez relies on his cast to do what they can with sketchily written roles, and also to pull off that dodgiest of acting tasks, speaking English with a pronounced German accent – something the stars curiously manage with much more shading and conviction than the mostly Teutonic supporting cast.
  21. Get Santa
    You’ve got to take the rough with the smooth, and there’s a lot of smooth here. Jim Broadbent has the balance of jollity and melancholy just right as Santa.
  22. After the Hunt
    It’s a film that prowls around with blood in its nostrils, watching us as intently as we watch it, and waiting for just the right moment to strike.
  23. Exodus: Gods and Kings
    This is bold and uncompromising stuff from Scott; a Biblical epic to shake your faith in the order of things, not reaffirm it.
  24. Fantastic Beasts: The Crimes of Grindelwald
    Telling an audience this stuff is important is one thing: making them actually feel that it is is the magical part, and Grindelwald bungles the trick.
  25. 80 for Brady
    It could have been one more late-career hurrah by Fonda and her fellow screen greats. Instead, 80 For Brady flubs the touchdown.
  26. The Christmas Chronicles
    The whole thing is out-and-out tinsel-dunked tat, but oddly honourable with it – the Christmas spirit might be just a few steps up from bathtub grade, but it still packs a kick.
  27. A Working Man
    Companionable as he always is, the way this flaunts Statham’s star power leaves a lot to be desired. He’s a totem of meathead carnage, barely sustains a scratch, and doesn’t get nearly enough moments of the deadpan bemusement he excels at best.
    • 52 Metascore
    • 60 Critic Score
    Jamaica Inn
    Daphne du Maurier's rum tale of romance, ripping bodices and roguery was rewritten for this so-so Alfred Hitchcock screen version to accommodate the demands of its star and co-producer Charles Laughton, who felt himself deserving of a grander role than any du Maurier had deigned to write. [30 Mar 2019, p.33]
    • The Telegraph
  29. Eiffel
    Taken as a speculative romance, and in the right matinee spirit, it’s lushly engaging, with a star pairing that – appropriately – rivets.
  30. X-Men: Apocalypse
    Better than Batman v Superman: Dawn of Justice, but not by an awful lot, and vastly less entertaining than Marvel’s current Captain America smash, it’s also curiously more sadistic, and seemingly less bothered about large-scale human fallout, than this once-spirited series used to be. Apocalypse isn’t quite the end of the world for X-Men fans, but it might be the end of the line.
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