The Telegraph's Scores

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For 2,484 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 Louis Theroux: Inside the Manosphere
Lowest review score: 0 Cats
Score distribution:
  1. Positive: 1,188 out of 2484
  2. Mixed: 1,122 out of 2484
  3. Negative: 174 out of 2484
2484 movie reviews
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  1. Pearl
    In her first outright lead role Goth is straightforwardly tremendous, and gets to move through the considerable breadth of her talent even within individual shots.
  2. Bones and All
    Russell, a revelation in Trey Edward Shults’s under-seen Gen-Z melodrama Waves, is career-makingly good here, while Chalamet’s tender, tousled allure and razor-edge of raw danger powerfully recall the late River Phoenix: his Lee is a hustler to the core, always calculating where his next meal is coming from, and who he’ll have to sink his teeth into in order to get it.
  3. 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.
  4. Blackbird
    Much of the film is unintentionally hilarious.
  5. Bardo, False Chronicle of a Handful of Truths
    Iñárritu has cooked up a personal epic of the most exhaustingly swaggery type, man-spread across three hours of screen time during which flashes of genuine, startling brilliance occasionally manage to push their way through the strenuously zany macho-visionary fug.
  6. TÁR
    The film wields its intelligence and style with total effortlessness, and its every move holds your gaze like a baton’s quivering tip.
  7. White Noise
    For this usually understated filmmaker, it’s a madcap outlier, and often resembles an early Steven Spielberg film having a nervous breakdown.
  8. Explorer
    Fiennes is admirably open throughout, with seemingly no thought of a public image to burnish.
  9. Beast
    Kormákur captures the action in a series of long, prowling, hold-your-breath takes, which both convey a vivid sense of place (the whole thing was shot on location in South Africa) and afford the viewer endless opportunities to anxiously scan the background for lion-shaped ripples in the long grass.
  10. Mr. Malcolm's List
    It’s in the wit department that this trifle wobbles most, dodging irony and cosying up with convention.
  11. Official Competition
    Smart comedy is already a rarity; smart comedy that looks this good is a once-in-a-blue-moon event.
  12. I Came By
    Director/co-writer Babak Anvari made a startling debut with Under the Shadow (2015), but like his follow-up, Wounds (2019), this is a shakier pot-boiler – diverting, provocative in spots, a little head-scratchy in plot terms. The secret weapon is Ascott, an actor you itch to see cast in more films
  13. The Feast
    Shot entirely in Welsh, this pristine debut from Lee Haven Jones has a methodical chill to it, laying steady groundwork for a buffet of grotesqueries. It’s horror-satire, with its eye on environmental plundering, and a demonic revenge to exact.
  14. My Old School
    [An] impish and riveting talking-heads piece.
  15. Fisherman's Friends: One and All
    This second Fisherman’s Friends is not without its moments, but the aftertaste calls for a strong menthol lozenge.
  16. Where Is Anne Frank
    [Folman's] new film, Where is Anne Frank, doesn’t need to make sense of Anne Frank’s diaries – they speak for themselves – but instead builds a bridge to the present day, where Folman finds a troubling deafness to the very lessons, and alarm bells, that her legacy ought to have guaranteed.
  17. Eiffel
    Taken as a speculative romance, and in the right matinee spirit, it’s lushly engaging, with a star pairing that – appropriately – rivets.
  18. 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.
  19. Prey
    The script makes a heavy meal of Naru’s personal growth, where a concentration on pure survivalist reflex would have made it leaner and meaner. But when the film knuckles down in sequences of wordless action, it slays.
  20. Bullet Train
    As a motor-mouthing smart-ass, the 58-year-old Pitt is badly miscast – every detail here seems tailored to Ryan Reynolds, director David Leitch’s Deadpool collaborator – while the film's bulging cast and bloated running time recalls those all-star capers of the 1960s: imagine It's a Mad, Mad, Mad, Mad World crossed with a migraine. For the sake of all that’s holy, take the bus.
  21. Luck
    Luck contains all the warmth and ingenuity that was nowhere to be found in Pixar’s own recent Lightyear, and has the attitude – if not always the supreme clarity and craftsmanship – of his old studio’s vintage productions.
  22. Thirteen Lives
    Howard’s film is a paean to the courage and canniness of the seasoned non-professional: subterranean heroism has never looked so down-to-earth.
  23. Nope
    For Hollywood’s armies of unsung craftsfolk, Nope turns the blockbuster rules on their head: an expansive science-fiction thriller whose heroes rise up and claim their heroism from behind the scenes. For the rest of us, it’s an outrageously good time.
  24. 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.
  25. The Gray Man
    Around halfway through a sustained shootout in Prague, the sheer thundering mindlessness of the whole enterprise becomes impossible to ignore.
  26. Thor: Love and Thunder
    Forget computer-generated spandex: that top must be the single most psychologically precise piece of costuming in the entire Marvel project. That it also looks completely at home beside Hemsworth’s scarlet cape and induction-hob breastplate might be the neatest encapsulation to date of the franchise’s charms.
  27. Minions: The Rise of Gru
    The animation is technically wondrous – the colour and detail amazes, while the Minions themselves have never looked more bouncily robust – but it’s always in service of the overriding slapstick agenda. Even the flat, side-on compositions – less than ideal for showing off graphical prowess – feel like knowing evocations of the deadpan staging of vintage cartoons.
  28. The Black Phone
    It’s the film that’s hell – and a very dull, desperate hell at that, as if these dungeon masters have realised we aren’t sufficiently scared by the main event, and try throwing the kitchen sink at us, almost literally.
  29. The Sea Beast
    In terms of sheer energy and invention, it more than holds its own, and boasts action scenes whose wit, vibrancy and gracefulness make Lightyear look low on batteries.
  30. Spiderhead
    It’s enjoyably acted and astutely put together, with plot details that bleed out at just the right speed. But it lacks the thrilling existential dizziness and lingering chill of Alex Garland’s Ex Machina, to which it owes a considerable and obvious debt: in fact, it’s essentially the Ex Machina you can follow while making cups of tea and checking your phone, which may be all that Netflix wanted from it.
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