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. The Boy Next Door
    The film goes for broke with such a careening lack of inhibition, it definitely ends up in the fun zone.
  2. The Wolverine
    The previous X-Men film, First Class, was secure enough in its own skin to embrace its comic side. Mangold’s picture affects a pubescent snarl instead: that’s the difference between comic and daft.
  3. Fullmetal Alchemist
    It all feels grindingly perfunctory – gloopy with jargon and lore, and with no concessions made to newcomers, the film feels less like a worthwhile film in its own right than an invitation to existing fans to buy a ticket, just to see how things turned out.
  4. The Dark Tower
    It’s a sad waste, not a wilful one – a misfire you wish was better in virtually every shot.
  5. Smurfs: The Lost Village
    Under-eights may thrill to this, or they may, in years to come, confuse it with their first LSD trip. Just don’t say you weren’t warned.
  6. Broker
    All his usual strengths fail him in a different culture here, perhaps because the veneer of venal cynicism that ought to be the film’s top layer is so easy to scratch through. Digging for the pathos hardly takes us long, especially with one of the director’s most cloying scores handing over a shovel.
  7. Dashcam
    The moment-to-moment incoherence of Dashcam makes it maddeningly hard to figure out what’s happening – the “WTF?”s that appear in the chat-box might just as well be our own. There’s a certain delirious energy to it.
  8. How to Please a Woman
    The oddity, and pretty much sole selling point here, is Phillips, a delightful stalwart of British telly for years, fronting a coy Australian sex comedy of almost dogged, determined mediocrity. Writer-director Renée Webster is at least to be credited with grasping her star’s flummoxed appeal in a rare leading role.
  9. Pain Hustlers
    It’s hard to extend much credit for the subject matter when it’s exploited for a “wild ride” that isn’t even wild, hawking a true story that isn’t even true.
  10. Tornado
    If production problems didn’t thwart Maclean and crew from making a proper fist of all this, the editing took its eye off the ball.
  11. Moxie
    One hopes the golden age isn’t quite over yet, although as Moxie galumphs from one glib, soulless scene to the next, it’s hard not to fear the worst.
  12. Day Shift
    With its meathead sensibility, Day Shift is always most comfortable hacking and slashing. These set-tos can be reasonably tasty, but everything else? Way more seasoning, please.
  13. Doctor Jekyll
    There’s nowhere near enough horror, threat or intrigue to last the course.
  14. The Handmaiden
    It’s hard to pinpoint the precise moment at which The Handmaiden, Park Chan-wook’s deviously kinky period thriller, shifts from being a lascivious slice of art-house delirium to a gruelling, dislikable contraption which meretriciously sells out its source material. But that’s what happens.
  15. Britney Vs. Spears
    The conclusion the directors reach could have come from any of the other Spears films
  16. Cat Person
    Had Roupenian stretched out Margot’s ordeal into the turgid novella it hereby becomes, we’d never have heard of Cat Person in the first place.
  17. Fear Street Part One: 1994
    There’s an unmistakeable timidity to director Leigh Janiak and Phil Graziadei’s screenplay: it feels odd to watch an 18-rated horror that feels as if it’s going out of its way not to offend.
  18. Lisa Frankenstein
    There’s a leaden-footedness to the direction, too. Where Burton’s camera lurched and crashed, Williams’s has a habit of hanging back sheepishly, fluffing visual gags and sapping scenes of the unhinged energy they need.
  19. Now You See Me 2
    Constructed to fool the viewer with layer upon layer of lame cheats and moth-eaten devices, the film has nothing on its mind but sinking you gently into an in-flight stupor.
  20. In a Violent Nature
    This is the trouble with nihilism as a foundation for horror: it can’t quicken the pulse, drum up scares, or elicit any fruitful response from the viewer at all. Being impressed with a whole lot of nothing doesn’t mean we are.
  21. Batman v Superman: Dawn of Justice
    No major blockbuster in years has been this incoherently structured, this seemingly uninterested in telling a story with clarity and purpose.
    • 47 Metascore
    • 40 Critic Score
    Robot Overlords
    Unfortunately, despite the best efforts of its cast, the film just isn’t that good.
  23. The Legend of Tarzan
    Robbie lights up her scenes with the much more special effect of raw personality.
  24. Demolition
    Stuffed with so many strenuous editing ideas you suspect the influence of something illegal, Demolition is mainly casting about for a point, when it doesn’t feel like a wrecking ball aimed squarely at itself.
  25. Me Before You
    There’s gentle manipulation, and then there’s having your arms manacled to a freight train of weepy catharsis, which is roughly the experience awaiting viewers of Me Before You.
  26. A Haunting in Venice
    Kenneth Branagh returns as Poirot, but, rather than jazz things up, the film's many Danny-Boyle-esque stylings are a constant distraction.
  27. The Penguin Lessons
    Coogan, like Tom, weathers this relatively unscathed. But Federico Jusid’s tango-inflected score just won’t stop plucking our heart-strings, as if keen to reassure us that we’ll make it through one of the darkest periods in South America’s history without the mood souring.
    • 66 Metascore
    • 40 Critic Score
    Sausage Party
    The problem with Sausage Party is that, for all the silliness, it so desperately wants to be taken seriously. What should have been a shamelessly filthy stoner movie has been watered down with ill-judged, undergraduate musings on religion, philosophy and race.
  29. One Direction: This Is Us
    Spurlock himself is nowhere to be seen, perhaps because the man in charge of this film is plainly Cowell himself, whose influence hangs over the picture like the smell of a leaky bin bag.
  30. No Hard Feelings
    It’s not simply that its various comedic scenarios aren’t funny (though they aren’t); or that all of its would-be snappy one-liners drop on the floor like wet socks (though they do), or that the timing is so off that it feels like the film was edited with a spork. It’s that nobody on screen, Lawrence included, seems remotely invested in the exercise in the first place.
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