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. 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.
  2. Blood
    The film’s family-saga pretensions and bombastically overdone characterisation keep hobbling its better elements.
  3. 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.
  4. Captain America: Brave New World
    A thrill-free thriller.
  5. The Boys in the Boat
    The Boys in the Boat is autopilot Clooney – a pleasant, coddling watch almost ruthlessly shorn of depth or subtext.
  6. Slaughterhouse Rulez
    The school isn’t specific enough and the horror isn’t weird enough: on both fronts, it’s so broad it could practically be a Norfolk waterway.
  7. Indiana Jones and the Dial of Destiny
    It ultimately feels like a counterfeit of priceless treasure: the shape and the gleam of it might be superficially convincing for a bit, but the shabbier craftsmanship gets all the more glaring the longer you look.
  8. The Old Oak
    It’s not enough for Loach and Laverty to have their hearts so reliably in the right place. The Old Oak is sluggishly predictable in plot, but also sharply unsatisfying at the end.
  9. Bank of Dave 2 : The Loan Ranger
    Ken Loach-style didactic social realism is all well and good, but Loan Ranger looks as if it was shot on a block of processed cheese and written with a bucket and mop.
  10. Gemini Man
    Those wonky de-aging effects and distracting frame-rate serve as trip-wires too. But what ultimately hobbles Gemini Man, more than all of that, is its refusal to buy into its own ludicrousness. It’s a slab of silliness that commits a terrible error: it takes itself seriously.
  11. Ant-Man and the Wasp: Quantumania
    For a franchise in need of refreshment, it’s anything but a quantum leap.
  12. 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.
  13. The Zero Theorem
    Raucous but fatally confused, openly pilfering its central themes from Gilliam’s own 1985 masterpiece Brazil, but with no idea how to develop them.
  14. Finding Your Feet
    It’s not all bad: no film with this cast could ever fail entirely. Staunton makes you root for Sandra even at her worst, and Imrie offers an impish, joyous counterbalance to her pursed-lip disapproval.
  15. Wicked Little Letters
    When the culprit is revealed to the audience after an hour or so, and the film attempts to dig into the psychology behind their reign of terror, it quickly finds itself out of its depth.
  16. The Eyes of Tammy Faye
    A Wolf of Wall Street-like treatment of this story could have been a scream – and the details are more than bizarre, crass and damning enough to have supported it. But cheeks aside, this is flat, colourless stuff.
  17. Mercy
    The film mechanically ticks by, while showing no evidence of a soul.
  18. Love, Rosie
    Amid the bungles, Collins is a bright spark.
  19. Zombieland: Double Tap
    Though it coasts on some wildly uneven star charisma, there’s nothing particularly objectionable about Double Tap, finally. It’s fine? It’s just a time-killer we didn’t much need, a decade after we hardly needed the first one.
  20. The Shrouds
    The Shrouds has potential to be morbidly hilarious, deeply twisted and strange, or rather moving: the fact that it only feints in those directions, while prioritising several less fruitful ones, makes it the steepest disappointment of Cronenberg’s late career.
  21. Boston Strangler
    This film pretends to be cleaning house chez Mr Strangler, when it’s just pushing dust around.
  22. The Bookshop
    Nighy and Mortimer have just a couple of scenes together, but they’re easily the film’s best: both actors sink gratifyingly into the nuances of this incipient friendship, bond over books you actually believe they’ve read, and give the film its best hope of doing Fitzgerald justice.
  23. Jersey Boys
    Rather than embracing the jangling song-and-dance numbers that made the live version box-office catnip, Eastwood sheepishly tidies them into the background, treating the project instead like a standard music-industry biopic.
  24. 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.
  25. The Moment
    The Moment is an alienating, glitchy mockumentary imagining something that never happened.
  26. The Cloverfield Paradox
    As 2017’s gripping and confidently philosophical Life proved, it’s possible to weave an original action movie from the smelly-people-trapped-in-space cliche. Yet The Cloverfield Paradox’s take on the genre is ham-fisted, with deafening bursts of exposition strewn between endless, talky, tedium.
    • 44 Metascore
    • 40 Critic Score
    Unicorn Store
    It’s more often than not something of a slog, its insights shrug-worthy and its tone jarring in its shifts from candy-coloured whimsy to weepy dramatics.
  28. Empire of Light
    The film has a sheepish, hair-shirt quality, as if it wants credit for intersectional largesse. What it does do quite well is challenge the temptations of unquestioning nostalgia.
  29. After Earth
    Despite the Smith family’s association with Scientology, which unmistakably informs this tale’s belief system (“Fear is a Choice”), as well as its shaky attempts at mythic patterning, it is in no way the laughable shambles that John Travolta’s infamous "Battlefield Earth" was.
  30. Suicide Squad
    When you compare Suicide Squad to what James Gunn and Marvel Studios achieved in Guardians of the Galaxy – low-profile property, oddball characters, make-it-fun brief – the film makes you cringe so hard your teeth come loose. But it’s a slog even on its own crushingly puerile terms.
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