The Telegraph's Scores

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For 2,495 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: 1,196 out of 2495
  2. Mixed: 1,124 out of 2495
  3. Negative: 175 out of 2495
2495 movie reviews
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  1. The Face of an Angel
    Winterbottom’s shapeshifting spontaneity has long seemed as much limitation as virtue, characteristic of a filmmaker unable or unwilling to commit to his own better ideas. Here, you feel him hedging around his subject, less out of sensitivity than a constitutional evasiveness, an inability to formulate a clear line of argument.
  2. Drive-Away Dolls
    It’s not entirely without redeeming features. Margaret Qualley’s game lead turn would fit into the joint Coen canon on its own merits, and the final line (yes, I’m reaching, already) does land with a certain Billy Wilder-esque comic grace.
  3. Fast & Furious 6
    Before, after, and between these (action) sequences, even by the paltry standard of previous scripts, it’s slow-witted and won’t shut up.
  4. The Wall
    The film is street-hawking its thesis all over the parish. Had it tried a softer sell, it would have been much more tempting to stop and listen.
  5. MI-5
    As a film, it feels like a bunch of people pretending to be in a film. As a continuation of the show’s faintly ridiculous appeal, it has enjoyable moments.
  6. Another Mother's Son
    Jenny Lecoat’s script admits to being a fictionalised version of Louisa Gould’s heroic martyrdom, but it’s one with an unfortunate air of unreality.
  7. At Eternity's Gate
    The point with van Gogh is that he produced mind-boggling art while stricken with doubt that he’d failed all his life. This film is his spiritual antithesis – so recklessly confident that it paints right over him.
  8. The Flash
    Enjoyment of The Flash hinges on two things: how much Ezra Miller sprinting about you can realistically withstand in one film, and whether multiverses seem cool any more, a year after we just flogged them to death. I wish you the best of luck.
  9. Out of Blue
    Unfortunately, its odd mix of hard-boiled noir and cod-metaphysical waffle comes together in a way that defies you to take any of it seriously.
  10. 47 Meters Down
    It’s not the premise that’s the problem. It’s everything else.
  11. Capone
    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.
  12. Jurassic World: Fallen Kingdom
    The film staples together two snazzy-sounding ideas – an ecologically inclined disaster movie with dinosaurs, and, later, dinosaurs on the loose inside a stately home – without considering whether the end product’s sheer snarling hideousness might just prove an intelligence-insulting turn-off.
  13. Superpower
    When [Penn] steps aside, or simply lets Zelensky talk, the film hits home as a crudely earnest plea for more principled military aid, and you can’t really fault its message. The delivery, though, leaves a lot to be desired.
  14. Fifty Shades Darker
    The awkward middle course charted by new director James Foley (Glengarry Glen Ross, House of Cards) and his cast is unsatisfying in terms of head, heart and, well, elsewhere. It’s an alleged 18-rated, adults-only filth-fest that behaves like a flustered PG.
  15. 7 Days in Entebbe
    The film’s determination to remain politically even-handed robs much of the drama of any sense of urgency or purpose.
  16. World War Z
    What we get is a collection of moderately violent action set-pieces untroubled by humour or broader coherence.
  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. I Feel Pretty
    The only means it can find to be funny is sabotaging its own message, which isn’t a great starting point, let alone finishing point, for a body-positive comedy.
  19. This Is Where I Leave You
    The two who do succeed in forging a convincing bond are Bateman and a spry, switched-on Driver, as brothers with a significant age gap who get each other and tend to join forces against the surrounding tumult.
  20. From the Land of the Moon
    From the Land of the Moon is a story about how good it feels to feel very, very bad – and how a life lived in rapturous misery is somehow more valuable than mild domestic contentment. That might ring truer if Garcia wasn’t working in such a starchy register.
  21. The Six Triple Eight
    The film is torn between the conflicting instincts of sassy playing to the gallery and sanctified mush.
  22. My Old Ass
    While there’s still (arguably) some fun to be had with this independent comedy’s double-entendre-friendly title, the laughs – such as they are – don’t extend a great deal further than that.
  23. Sonic the Hedgehog
    Children encountering the faux-ET format for the first time may enjoy it well enough, but signs of life, extra or otherwise, are low to nil.
  24. Chaos Walking
    It takes around three minutes for Chaos Walking to fully set out its premise, and around three seconds more for everyone watching to realise it’s not going to work.
  25. Dough
    Its fusion of maudlin social commentary and banana-slipping pratfalls is graceless in the extreme: picture an episode of Chucklevision directed by Ken Loach.
  26. Thor: The Dark World
    It feels entirely made by committee – the definition of house style, without a personal stamp in sight.
  27. Monster Trucks
    As much as you may find yourself rooting for the film, it’s too blandly directed by Chris Wedge (Ice Age) to repay the favour with anything out of the ordinary.
  28. The 5th Wave
    The apocalypse, in its effect on Cassie, mainly takes the form of a been-there, done-that checklist of Young Adult story tropes, and none of these are very scary or original, or bode very well.
  29. Rare Beasts
    The trouble is, Rare Beasts lacks the razor wit, merciless candour and stylistic panache of Fleabag and I May Destroy You – not to mention Piper’s own Sky Atlantic series I Hate Suzie, made after Rare Beasts with the playwright Lucy Prebble, and broadcast last year.
  30. The Banishing
    It needed a director to grapple with all this, deadhead the redundancies and deliver a coherent vision; it’s especially disappointing to watch Christopher Smith struggle to pull it off.
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