Total Film's Scores

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For 2,046 reviews, this publication has graded:
  • 61% higher than the average critic
  • 4% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 Predator: Killer of Killers
Lowest review score: 20 Sir Billi
Score distribution:
  1. Positive: 1,054 out of 2046
  2. Mixed: 954 out of 2046
  3. Negative: 38 out of 2046
2046 movie reviews
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  1. Jungle Cruise
    An action vehicle that, in trying to do it all, does a little too much; Johnson and Blunt keep it afloat.
  2. Yves Saint Laurent
    Jalil Lespert’s film treats its hero with a high seriousness that not even Niney’s uncanny portrayal of YSL’s artistry and mental fragility can justify.
    • 54 Metascore
    • 60 Critic Score
    Oblivion
    It isn’t a reboot or reimagining, refreshingly, but Oblivion plays like a stylised remix of superior sci-fi ground-breakers. Cruise and Kosinski: they might be an effective team, but pioneers they’re not.
  4. We Bought a Zoo
    It's slight, sure, and there's a better, less-glossy film buried in the material, but warm performances redeem Crowe's agreeable return.
  5. On Chesil Beach
    A decent adaptation of McEwan’s excellent novella. Forget Fifty Shades – this is sex to make your cheeks blush.
    • 67 Metascore
    • 60 Critic Score
    The Perks of Being a Wallflower
    Logan Lerman delivers a career-making turn in this sweet, sincere film. It might not be a massive hit, but it will certainly ease a few paths through the awkwardness of adolescence.
  7. Solomon Kane
    A brutal fusion of angst and action, this mini-epic gives the sword-and-sorcery genre a bleak, brusque new life. Watch it for some terrific limbchopping and a mighty turn by James Purefoy.
  8. Fast Five
    Say what you like about director Justin Lin’s lack of subtlety (or understanding of the laws of physics), but he knows how to kick-start an action movie.
  9. 2 Guns
    Washington and Wahlberg are an effective double act in an intermittently exciting thriller with more twists than it needs. We’d love to see them partnered again, though perhaps as characters.
  10. The Girl on the Train
    Guilty of being slavishly loyal, Taylor’s film never quite translates into the cinematic equivalent of Hawkins’ page-turner. Blunt, though, is excellent.
  11. The Chamber
    Aiming straight for mounting dread, Parker gets the job done aggressively.
  12. BlackBerry
    The performances keep us engaged.
  13. I'm So Excited
    Full of fizz, filth and fun, I’m So Excited! is like an ’80s retro-blast. Its scattershot comedy may not impress latecomers to Almodóvar’s career, but old-school fans will love it.
  14. Back to Black
    A competent if occasionally clunky biopic, enlivened by a superb Marisa Abela, who truly inhabits Winehouse and brings those songs to life.
  15. West Side Story
    Spielberg lovingly restages the classic musical – but while the songs still soar, it feels more indulgent than essential.
  16. Pain & Gain
    Like all of Bay’s work, it’s over-the-top, brash and exhausting to watch. But like the lifestyle its characters aspire to, there’s an allure too.
  17. Mortal Kombat II
    A bloody fun second round, Mortal Kombat 2 creatively resets the series for the better. Karl Urban adds irreverent energy as a post-Deadpool Johnny Cage, while the all-important fights mostly deliver the goods. A step up from 2021’s bizarrely tournament-less Mortal Kombat that lands some killer blows, but it’s far from a flawless victory.
  18. Saltburn
    Taking aim at England’s ruthless ruling class rather than American misogyny, it’s a glossy, wildly over-the-top satire about a working-class student’s fatal attraction to an aristo family. Saltburn is a fiercely funny watch, albeit one that doesn’t deliver on its promise quite as well as Fennell’s debut.
  19. The Machine
    Despite some striking imagery and sterling FX work, Welsh writer/director Caradog W James’ expert use of limited resources doesn’t stretch as far as the subtlety-averse script.
  20. Out of the Furnace
    Christian Bale’s earnest, emotional turn sustains a thriller that throws a few mean jabs but staggers towards a punch-drunk resolution.
  21. Nails
    Dennis Bartok’s sparse horror has a spooky central conceit, and just about overcomes its budgetary bumps, while Macdonald excels as the innocent.
    • 85 Metascore
    • 60 Critic Score
    Passing
    A visually stunning directorial debut that’s too intimidated by the original source material to be effective.
  23. Lone Survivor
    The direction pummels and the cast impress, yet Berg’s war movie promises more than it delivers. Memories of Battleship are sunk, but that Oscar buzz may be a bit premature.
  24. The Divergent Series: Insurgent
    A competent rather than classic follow-up. If the action feels generic at times, the addition of Watts, more Winslet and the strength of Woodley are worth watching.
    • 41 Metascore
    • 60 Critic Score
    Tonight You're Mine
    It's not quite "Before Sunrise" with mud and portaloos then, but warm vibes, buzzy crowd scenes and the two leads' enthusiasm will pull you through to the morning after.
  26. Snow White and the Huntsman
    A visually inventive, deliciously dark fairytale reheat. The story's far from the stuff of legend, but Theron makes for a ferocious meanie, helping to flush away "Mirror Mirror's" sugary aftertaste.
  27. The Expendables 3
    The Expendables 3 marks a sizeable improvement on the first two outings.
  28. The Midnight Sky
    No ray guns, no tentacular beasties, just gravitas in a film that goes boldly about its business but never quite lands.
  29. In the Earth
    Ben Wheatley goes back to basics for a pandemic chiller where Covid is the last thing to be afraid of.
  30. Snowden
    Joseph Gordon-Levitt is credible as the former NSA contractor, but Stone gets side-tracked by his relationship with Lindsay Mills (Shailene Woodley) and Rhys Ifans’ leering CIA suit.
  31. River
    Dagg keeps things simple, but his jogging camera whips up the urgency and he’s well-served by Sutherland’s rangy physicality.
  32. Rocketman
    Egerton gives it his all, and there are moments of visual invention, but this largely formulaic rock biopic can’t hit the high notes.
  33. Zack Snyder's Justice League
    Though suffering from its own shortcomings, Zack Snyder’s gargantuan Justice League is a commendable improvement on the widely derided original. Stock up on snacks.
  34. Hara-Kiri: Death of a Samurai
    The 3D is completely redundant and the action sporadic but unexpected gearshifts provide plenty of narrative meat.
  35. Korengal
    It’s absorbing to a point, but adds little to what’s gone before.
  36. Sorcerer
    Drags like an arthritic snail.
    • 60 Metascore
    • 60 Critic Score
    Madagascar 3: Europe's Most Wanted
    The ghost of Tex Avery is alive and well in a frenetic sequel that does more than reheat and serve. Madagascar 4? Don't bet against it.
  38. Wilde Salomé
    Like Pacino’s Shakespeare rumination Looking For Richard (1996), Wilde Salomé is passionate and absorbing, though the insertion of lengthy clips from the film might irk viewers who’ve just watched it.
  39. War for the Planet of the Apes
    This solid if unspectacular finish to the Apes trilogy features an A-game Andy Serkis and incredible VFX, but its darker excesses threaten to suffocate at times.
  40. Liberal Arts
    An amusing, thoughtful romcom about love, literature and coming of age. Whatever age.
  41. Broken
    Believably charts a girl’s coming of age but is eventually capsized by lurid melodrama.
  42. Seven Psychopaths
    Engagingly off-centre, like Charlie Kaufman taking down Quentin Tarantino, this sunbaked shaggy-dog story is a place-holder film for McDonagh, and often closer to chaos than it is to genius.
  43. Child's Pose
    The restlessness of the camerawork may drive you to distraction, but director/co-writer Calin Peter Netzer’s film is held steady by Gheorghiu’s staunch performance.
  44. Jurassic World Dominion
    In narrowing his film’s field of activity, director Colin Trevorrow dispiritingly winds up reducing it to the tried, the tested, and the numbingly familiar.
    • tbd Metascore
    • 60 Critic Score
    Vendetta
    Viewed as a Brit answer to ’70s and ’80s exploitation flicks, endless Seagal movies and First Blood (Dyer is rogue SAS; his colonel issues Trautman-esque warnings), it’s surprisingly decent.
  46. The Angry Birds Movie 2
    Pleasingly silly sequel is a colourful, creative, deliciously daft animation.
  47. Hotel Transylvania
    Despite the all-star talent, an overload of sight gags and an always-amiable vibe, Genndy Tartakovsky's monster house is a bit too loony for its own good.
  48. The SpongeBob Movie: Sponge Out of Water
    Next to message-laden, CG-soaked kids’ animations, SpongeBob stands alone. His return is a skittish but winning splash of nonsense: dip in.
    • 47 Metascore
    • 60 Critic Score
    The Ardennes
    Shooting in dull, wintry colours, the mood is set for a story that can only end badly.
  50. The Purge
    James DeMonaco’s blood-splattered thriller begins well before expiring slowly from multiple improbabilities.
    • 56 Metascore
    • 60 Critic Score
    White Christmas
    This was the Mamma Mia! of its day, a nostalgic blast of popular Irving Berlin showtunes gift-wrapped in new-fangled VistaVision that danced its way to the top of the 1954 box office.
    • 66 Metascore
    • 60 Critic Score
    The Girl Who Leapt Through Time
    Based on an oft-adapted ’60s sci-fi novel, this charming, visually fertile film captures the conflicted emotions of first love and embarrassment of being a teen with real sensitivity.
  53. Transformers One
    A visually striking and inventive overhaul of well-oiled IP that suggests animation was the right path all along. Autobots, roll out!
  54. The Frozen Ground
    It’s handsomely lensed, and when Cage and Cusack finally go nose-to-nose, the fur does fly.
  55. Effie Gray
    Richard Laxton’s painterly film combines the gothic shadows of Hitchcock’s Rebecca with the gut-wrenching romance of A Royal Affair. The result is dark and offbeat, but as a murky anti-romance, Gray is undeniably effective.
    • 36 Metascore
    • 60 Critic Score
    The Watch
    If you can ignore the disturbing parallels with recent events, this middle-aged, Middle-American "Attack The Block" raises a laugh.
  57. Passengers
    As sci-fi, it feels like a professionally produced hybrid that lacks its own identity. As a romance, it never fully earns your investment.
    • tbd Metascore
    • 60 Critic Score
    Stitches
    The kills are inventive but Noble’s baggy trousered butcher is too sympathetic, and his teenage victims too generic for this to be in anyway scary.
  59. Mean Girls
    A little more than a remake yet less than a makeover, Tina Fey’s watchable, well-cast revisit needed more daring to be wholly worthwhile.
  60. 100 Streets
    It’s not Altman, but its heart is in the right place and Drameh impresses.
  61. Man Down
    LaBeouf is committed, and it’s fun seeing him go toe-to-toe with Gary Oldman (as his boss). But amid Montiel’s jigsaw-like structure lurk some generic revelations. Disappointing.
  62. One Life
    Daniel Craig makes a decent fist of the narration. But you could also do without its gush about the “incredible journey” all beings on the planet share.
  63. Mud
    More accessible than "Take Shelter" but not as powerful, Mud boasts stunning photography, a mesmerising lead and a strong evocation of Americana. McConaughey’s gold run continues…
  64. In Order of Disappearance
    It’s not without its moments, but more comic dexterity and less brute force would have made a less choppy watch.
    • 41 Metascore
    • 60 Critic Score
    Kick-Ass 2
    A fun if sporadically schizoid return to one of the brighter, brasher comic-bookers of recent years.
  66. Francofonia
    The portentous narration, restless visuals and whimsical ghost characters (an unexpected Night at the Museum-style Napoleon) combine to make a thoughtful case about the inevitable interweaving of art and war.
  67. In the Heart of the Sea
    Given the weighty themes of Moby Dick, In The Heart Of The Sea doesn't have a lot going on behind the outward action. The composite parts are in fine working order; it's the sum that's slightly lacking.
    • 76 Metascore
    • 60 Critic Score
    This Ain't California
    Though set in a divided country, it’s an effervescent period piece, edited with verve: Persiel combines recreations with archive footage, animation and home videos.
  69. Like Father, Like Son
    Although a bit over-neat in its contrasts between the respective families, Like Father, Like Son remains an affecting film, thanks to Fukuyama’s understated turn and Koreeda’s typically graceful visual storytelling.
  70. Everybody Has a Plan
    Everybody does indeed have a plan in Ana Piterbarg’s ponderous Argentine noir – problem is, they’re all terrible.
    • 52 Metascore
    • 60 Critic Score
    Kaleidoscope
    Face crumpled, eyes darting, Jones captures the wounded humanity at the core of this psychological thriller. He feels the walls of his flat closing in; we feel the influence of Polanski and Hitchcock.
  72. 13 Assassins
    All politics and posturing, the first two-thirds of the film are stiff and uninvolving, and although the climatic 45-minute free-for-all is genuinely spectacular, it’s clear where the director’s heart lies.
  73. Northern Soul
    Sporadically engrossing, its highlight is a brilliant recreation of an all-night dance-a-thon at that northern soul mecca, the legendary Wigan Casino.
    • 53 Metascore
    • 60 Critic Score
    She's the One
    She's The One is carefully observed, well-made, enjoyable, thought-provoking and even funny. And: cracking crumpet, Gromit.
  75. A Walk Among the Tombstones
    Exciting, in places, though a stranger to subtlety, it ticks all the genre boxes, but there’s something about its knowing noirisms that feels superficial rather than soaked-in.
  76. Marjorie Prime
    Musing on memory and machine-emotion, it echoes Eternal Sunshine of the Spotless Mind and Her. But despite its fine portraits of loss, it never escapes its stage-play origins.
    • 43 Metascore
    • 60 Critic Score
    The Giant Mechanical Man
    Kirk, who wed Fischer in 2010, perfectly captures her all-thumbs charm, and ubiquitous character actor Messina steps into the lead with ease, showing off some impressive mime skills to boot.
    • 51 Metascore
    • 60 Critic Score
    What Just Happened
    Barry Levinson’s comedy is stronger on the incidental detail: Keener ruthlessly expelling an underling from her office, or Variety’s acid reporting of an agent’s suicide (‘10 per center puts himself in turnaround’). But the big finale at Cannes feels inauthentic – a bit of a letdown from the director who so brilliantly pilloried Robert Evans in Wag The Dog.
  79. Jack Ryan: Shadow Recruit
    A solid outing for a re-Bourne hero that could, with a few key tweaks, generate another round of vehicles for the Clancy cash cow.
  80. The Seventh Fire
    Uplifting it isn’t, but there’s poetry to be found in these desperate lives, and Riccobono never judges or sensationalises his subjects. Sensitive, if slightly unfocused.
  81. Bohemian Rhapsody
    Definitely not Killer Queen, but thanks to a blinding turn from Malek, fans of the band will get their kicks.
  82. Only the Brave
    Backdraft clichés notwithstanding, this is a stirring fact-based tribute to public servants putting it on the line.
  83. Final Cut
    One of the smartest zom-coms in recent memory gets a faithful French remake, but it's too well made to convince as the ultra-low budget schlock its aping.
  84. Big Eyes
    Adams is as watchable as ever as Margaret, backed by fine support, but the problem lies with Waltz. He’s more caricature than character, and Burton proves unable to harness his energy as well as Tarantino did.
  85. The Woman in Black 2: Angel of Death
    Harper’s well-appointed sequel has strong performances even if the Woman becomes a supporting character in her own tale.
  86. Lisa Frankenstein
    A neat mash-up of high-school comedy and horror tropes. Pity it flounders in the final third, though.
  87. Trainwreck
    Amy Schumer is a force to be reckoned with – but despite some belly laughs Trainwreck doesn’t quite transcend the romcom formula like the best of the genre.
  88. The Color Purple
    The film treads a fine line between saccharine and crowd-pleasing, though there’s no doubt a few moments will elicit tears.
  89. Absolutely Anything
    Pegg works wonders, but you’ll wish the concept had been pushed further, that there was more to the Pythons’ ‘reunion’ – and that Robin Williams had found a funnier swansong.
  90. Venom
    Fleischer made a better comedy-horror with Zombieland, but Venom’s a decent buddy actioner. You might even laugh your head off.
  91. Frozen II
    A solid sequel that hits the right notes and entertains without ever being quite as satisfying or essential as the original.
  92. Girls Lost
    Interesting, but others have explored similar themes far more effectively.
  93. The Lost City
    Star power swings to the rescue of a breezy romantic adventure that sticks to charted territory. Tatum fans will go weak at the Nees’ use of their hero.
  94. MI-5
    It doesn’t exactly soar and the lack of levity grates, yet the Spooks movie still delivers some appealingly old-school mayhem.
  95. Lay the Favorite
    A classy cast and Frears' light touch can't help this innocent abroad dramedy into the winner's enclosure. More jeopardy, less laboured larking, and it could've romped home.
  96. Anton Corbijn Inside Out
    It’s not groundbreaking, but the impressionistic approach at least strives for more than your standard-issue bio.
  97. CHIPS
    All hot wheels and dick jokes, it’s fun but forgettable.
    • 50 Metascore
    • 60 Critic Score
    Dark Skies
    As a shocker, Scott Stewart’s (Priest) film is solid, but it’s the thoroughly depressing backdrop that you’ll take away.
    • 46 Metascore
    • 60 Critic Score
    The Last Days on Mars
    A taut, tense yet hugely indebted debut, Ruairí Robinson’s survival horror manages to break free from its low-budget limitations but is hamstrung by its own love of the genre.
  100. Coming 2 America
    Coming 2 America has arrived at just the right time: its eminent watchability and pleasing lack of drama (things never get too dangerous or dicey) mean it should go down well as a cheering antidote to stressful times. But it's hard to imagine anyone opting to watch it over the original in years to come. Ultimately, it’s more fawning subject than rightful heir.
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