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. Loveless
    The script, co-written by Zvyagintsev and his regular collaborator Oleg Negin, scrupulously extends to each of its characters the dignity of complexity, and both excellent leads repay the favour tenfold, investing what could have easily been petit-bourgeois caricatures – the preening shrew, the oafish office drone – with riveting sincerity and nuance.
  2. A Gentle Creature
    Loznitsa’s construction of this world apart – which is, of course, a grotesque allegory for Russia itself – is as immersive as it is unnerving.
  3. BPM (Beats Per Minute)
    Campillo has mounted a methodical tribute to this era of activism which successfully balances everything on its plate: what’s brought to the table is a filling meal from a good chef, only lacking the genius of inspired presentation.
  4. War Machine
    A fantastically dreary and flatulent anti-war satire.
  5. Good Time
    When Good Time’s good, it’s properly electric, and the star turn goes off like an illegal firework.
  6. The Killing of a Sacred Deer
    When absurdism feels this wrong, you know it’s being done right.
  7. The Beguiled
    It’s every inch a group achievement, and the film’s best scenes are its ensemble ones: prayers before bedtime, musical recitals, meals by candlelight.
  8. The Meyerowitz Stories (New and Selected)
    The film doesn’t stint on emotional complexity, but it might be Baumbach’s most accessible to date.
  9. Wonderstruck
    Haynes’s vision of two New Yorks, a half-century apart, is a marvel of nested detail, never overbearing, and interested in things rusted and forgotten rather than shiny and new.
    • 37 Metascore
    • 40 Critic Score
    Baywatch
    Everything about Baywatch the movie is big, brash and bombastic.
  11. 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.
  12. 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.
  13. A Dog's Purpose
    Visually, narratively, every creative choice forks off down the most obvious route.
  14. 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.
  15. Miss Sloane
    It’s addictive fantasy, satisfyingly snappy even in its absurdity, and something no Chastain fan can afford to miss.
  16. Frantz
    Frantz is the work of a rascal, but a rascal in an unusually reflective frame of mind. Even with its mysteries solved, you can’t help but keep turning it over.
  17. Snatched
    It’s impossible not to come out wishing it were better.
  18. The Secret Scripture
    A variously lukewarm and lugubrious melodrama adapted from a 2008 novel by Sebastian Barry.
  19. Wind River
    Wind River confirms the director as a rising talent who can be trusted to beat his own enticing path through inhospitable ground.
  20. Pirates of the Caribbean: Dead Men Tell No Tales
    The gonzo-Wagnerian backstory the franchise subsequently built up hasn’t been sufficiently pruned – and with so many characters to juggle, the story feels less like a coherent chain of events than a bundle of obligatory subplots.
  21. Okja
    Okja is plenty of fun, and smart around the edges, but the girl-and-her-pig stuff can drag, and it feels like it’s pressing for resonance more than properly achieving it.
  22. Alien: Covenant
    Scott’s Alien: Covenant is a mad scientist film – arguably, one of the maddest. It’s grandiose, exhilarating, vertiginously cynical and symphonically perverse.
  23. Mindhorn
    For fans of Barratt, Boosh and mock-heroic Britcoms, it’ll mostly hit the spot.
  24. King Arthur: Legend of the Sword
    Ritchie’s film...is so misshapen and inert, your imagination and memory never come close to being sparked by it. Just sticking with the plot soaks up every ounce of concentration you have.
  25. Their Finest
    It’s the kind of handsome, rousing, rigorous entertainment you can’t help but play along with.
  26. Rules Don't Apply
    Beatty’s casting of Collins and Ehrenreich is inspired: it’s easy to imagine both of these beautiful young things thriving in the Hollywood of the 1950s and 60s, in much the same way Beatty himself did.
  27. The Zookeeper's Wife
    There’s something glib, and occasionally maddening, about the film’s use of loveable fauna in peril to sentimentalise and sweeten what is, after all, an account of real human bravery in the face of an endlessly horrifying historical event.
  28. Heal the Living
    Throughout, Quillévéré keeps asking her cast for the impossible, and gets it.
  29. Lady Macbeth
    Pugh is mesmerising.
  30. Guardians of the Galaxy Vol. 2
    That sense of gooey euphoria runs through everything that’s good in Guardians of the Galaxy Vol 2.
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