The Telegraph's Scores

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For 2,517 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: 1,206 out of 2517
  2. Mixed: 1,133 out of 2517
  3. Negative: 178 out of 2517
2517 movie reviews
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  1. Alita: Battle Angel
    As you’d expect from Rodriguez, it has a decent number of pow-wow fight scenes, and sure loves to watch machinery being ripped to shreds. But it's all uncomfortably close to the gruesome Flesh Fair from Spielberg’s A.I.: Artificial Intelligence, revamped as an ain’t-it-cool demolition derby with a charm-and-conscience bypass.
  2. One Cut of the Dead
    In its own ingenious way, One Cut of the Dead cleaves true to the most important zombie rule of all: survival has always been a team effort.
  3. The LEGO Movie 2: The Second Part
    Everything is adequate might not have the same ring to it, but it would make a fitting jingle for The Lego Movie 2.
  4. King of Thieves
    In its best moments, which tend to involve Gambon lurking at the back with a seedy grimace, or Broadbent looming almost motheringly over a rival’s shoulder, the film’s writing and acting have the grubby energy of good Pinter. In its worst though, it’s business-like and, for all the vivid performances, oddly bland.
  5. Vice
    It is a head-spinning shock-and-awe satire that comes in hot then cranks up the thermostat to infernal – a Molotov cocktail of biopic, documentary and black comedy, with a thrillingly short fuse.
  6. Destroyer
    Think of Destroyer as film noir with the brightness turned up. Karyn Kusama’s Los Angeles-set thriller has the bleary, beer-dank air of an overlong house party at which the host has just snapped on the lights: fun’s done folks, now check out the mess.
  7. Second Act
    For all the film’s fumbled shortcuts, air of semi-intentional Nineties-ness, and the completely mad bit with a stray flight of doves, it jollies along with some amiability.
  8. Life Itself
    he film's indulgences are so heart-on-sleeve that it's hard to differentiate watching it from hearing someone pitch their very bad screenplay ideas with no attempt to read the room.
  9. Colette
    For all its promised rebellion, Colette’s story really segues into a more nuanced tale of outgrowing: not just a childish and bullying spouse, but an age of acquiescence.
  10. The Front Runner
    As cautionary tales go, The Front Runner is of an unusually cautious bent. It presents the evidence, then sits back and folds its arms.
  11. Glass
    Intermittently entertaining but also a rum mix of goofy and pretentious, Glass sets far more problems than it successfully solves: tying various loose threads together, Shyamalan can’t restrain himself from adding more. The result’s a lumpy tangle, and the trilogy’s weakest instalment.
  12. Bird Box
    Bird Box begins with considerable promise but is soon revealed to have feathers for brains.
  13. Welcome To Marwen
    The film is such a crackpot tangle that it is even hard to fathom what a successful version might have looked like.
  14. Mary Poppins Returns
    For the most part, Rob Marshall’s film hews painstakingly close to the original in style and structure. But it comes to life thanks to its own consummate artistry and rafter-rattling gusto – watching it feels like reliving a classic, rather than merely retreading it.
  15. Aquaman
    For all its sporadic wackiness and wonder, on balance Aquaman still comes out a bore. But they’ve given it a heroic shake.
  16. Bumblebee
    As a toy-advert movie full of artistry and heart, it’s as slyly progressive as it is shamelessly nostalgic.
  17. Swimming with Men
    From top to bottom, it’s Brydon’s film, and his performance matches the modesty of the surroundings: rarely pushing too hard, he finds just the right groove as a browbeaten Everyman lacking spring in his step (or dash in his breaststroke).
  18. Mortal Engines
    Mortal Engines has been thoroughly storyboarded, make no mistake. But here lies the rub – lift-off, personality, and plainly put, direction, aren’t there. All the pieces of the movie slide mechanically into place and wait – and wait – for some spark of soul to turn up and animate them.
  19. Sicilian Ghost Story
    Summoning ghastly spectres of the real past, with the tragic ballast this one lends, always carries the risk that they’ll frighten mere fictions off the screen.
  20. Mirai
    Mirai bathes ordinary family life in a beautiful new light.
  21. The Mercy
    Through all the film’s bumps and scrapes, Firth does invest a lot of commendable energy in helping us grasp Crowhurst’s besieged state of mind. It’s a good performance in shaky circumstances, but at least he honours the man’s contradictions, on top of his terror of public failure, and even greater one of exposure as a fraud.
  22. The Workshop
    While it's possible to fantasise a truly explosive, riskily disturbing version of The Workshop, that simply wouldn’t be what its own makers intended.
  23. Mary Queen of Scots
    The film is led by a performance of thrilling regality and nuance from Saoirse Ronan as Mary.
  24. Robin Hood
    This film, with its endless copying of Assassin’s Creed camera angles and state-of-the-art bullseyes, is an ugly machine, tiring to the eye, monotonously scored, and also weirdly regressive on quite a few levels.
  25. The Girl in the Spider's Web
    There’s a doomy superficial finesse to the picture, with all its wintry confrontations, skull-trained sniper fire and quick thinking, and it doesn’t take itself as seriously as Fincher’s did. But then, it couldn’t: there’s nothing going on beneath.
  26. The Christmas Chronicles
    The whole thing is out-and-out tinsel-dunked tat, but oddly honourable with it – the Christmas spirit might be just a few steps up from bathtub grade, but it still packs a kick.
  27. Overlord
    The film suggests Inglourious Basterds dumbed down, pumped up, and ditching all pretension. If only it played like a spirited B-horror hybrid we could all get behind, instead of a ghoulish effects trip for the Resident Evil crowd.
  28. Fantastic Beasts: The Crimes of Grindelwald
    Telling an audience this stuff is important is one thing: making them actually feel that it is is the magical part, and Grindelwald bungles the trick.
  29. Outlaw King
    This is an exultantly old-school blood-and-thunder retelling of the rise of Robert the Bruce.
  30. The Grinch
    If the very best animation feels like nourishment for the soul, think of this adaptation of the beloved Dr Seuss tale as the spiritual equivalent of a double helping of chocolate-flavoured breakfast cereal: not exactly clean eating, but packing an irresistible sugary kick.
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