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. Wham!
    Director Chris Smith builds the film around Ridgeley’s mother’s scrapbooks of photographs and memorabilia – and perhaps partly because of that, it ends up feeling like little more than a leaf through the milestones. It’s been made for the fans, but they’ll know every last detail already: it’s pop history as singalong.
  2. Live by Night
    The movie is immaculately dressed, but there’s a mannequin blandness lurking beneath: it’s all logistics, no guts.
  3. Woman in Gold
    The film seems to think the mere presence of Mirren as a wisecracking widow will be enough for us to forgive it a multitude of sins.
  4. The Secret Scripture
    A variously lukewarm and lugubrious melodrama adapted from a 2008 novel by Sebastian Barry.
  5. The Forgiven
    The Forgiven concentrates on awful people doing awful things they’ll pay for unless they can avoid it, but as morality play it’s stuck in a rut, with an ending that just seems to have stumped McDonagh – it dissipates.
  6. Snatched
    It’s impossible not to come out wishing it were better.
  7. Cry Macho
    This Tex-Mex drama about a retired rodeo star on a mercy mission has an intermittent dawdling charm. It’s also slack and featherbrained – and set in the late 1970s, but you can barely tell.
  8. Maleficent: Mistress of Evil
    It gives you plenty to look at, even if you could say it’s been Avatarred and feathered to within an inch of its life. It’s the big, echoing hole in the middle – insert story, any story – that no one has figured out how to plug.
  9. Fantastic Beasts: The Secrets of Dumbledore
    So many sequences here feel like free-floating trailer fodder: surplus to plot requirements, but too expensive to cut.
  10. Carmen
    The dancing and photography are striking, and the acting’s perfectly fine. But the sum of it all is a moony inertia, lacking any awakening spark of life.
  11. The Gray Man
    Around halfway through a sustained shootout in Prague, the sheer thundering mindlessness of the whole enterprise becomes impossible to ignore.
  12. 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.
  13. Unlocked
    With just a scattering of stumbles, Unlocked could have conceivably ended up as a romp whose flaws and idiosyncrasies gave it character. But there’s only so much character a film can take.
  14. Saint Laurent
    For all its visual fizz, Bonello’s film, which he co-wrote with Thomas Bidegain, tells us nothing about the designer save the usual pompous/concessive hero-worship.
  15. A Dog's Purpose
    Visually, narratively, every creative choice forks off down the most obvious route.
  16. Being Maria
    The long-term consequences are depressing, but also low on dramatic tension and life.
  17. Sleepless
    There are only so many ways Foxx can hobble around with a stab wound and pick up multiple cellphones before the very sight of him gets silly: after a while, it’s like watching fatigued takes of the same scene over and over again.
  18. The Book of Clarence
    Stanfield’s dropout charisma can cushion a role fine, but can’t make this one very interesting.
  19. The Woman in Black 2: Angel of Death
    It’s murky and unsatisfying.
  20. The Divergent Series: Insurgent
    It plays like a listless mash-up of every Young Adult franchise movie you’ve ever seen – domineering rulers, anguished, system-smashing teens, and all the purposeful striding through rubble you can handle.
  21. The Journey
    Almost every last breath of The Journey is extraordinarily badly written, from the various contrivances that bring the two men together without supervision, to the verbal sabre-clashing that ensues.
  22. Men in Black: International
    It goes all-in on the foolproof chemistry, at the expense of everything else. We know from Thor: Ragnarok and the subsequent Avengers pow-wows how well Chris Hemsworth and Tessa Thompson can spar, but their partnership only takes a film so far when the script’s in freefall and nothing else seems to have a stake.
  23. Bird Box Barcelona
    The Bird Box beasts may be back in business, and perhaps in films to come we might even get a proper look at one. But it’s hard not to feel the apocalypse has moved on without them.
  24. Marching Powder
    One swaggering brawl plays out to a certain synth version of Beethoven’s 9th, suggesting that Love’s fanboy devotion to A Clockwork Orange might override having fully understood it. But who knows?
  25. How to Make a Killing
    It isn’t especially funny, and I’m not even sure that it’s meant to be.
  26. Why Him?
    Hamburg’s always reaching for poo-based humour in his more desperate moments.
  27. Passengers
    As a directing assignment, it at least proves that The Imitation Game was no fluke: Morten Tyldum can make glossily sexless, space-cadet guff out of whatever half-baked script you throw at him. The attempts at humour are wince-inducing.
  28. The Counselor
    It feels like a film that is attracted by the shape of love and pain, but is a long way from understanding the content.
  29. Home
    This underdeveloped offering barely lifts itself off the drawing board.
  30. Liam Gallagher: As It Was
    While it wouldn’t be entirely fair to accuse the film of having “bonus DVD content” written all over it, little here is, shall we say, incompatible with the hard sell.
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