Peter Bradshaw
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For 344 reviews, this critic has graded:
  • 38% higher than the average critic
  • 3% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 0.4 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Nothing But a Man (1964)
Lowest review score: 20 The Man with the Iron Fists
Score distribution:
  1. Negative: 26 out of 344
344 movie reviews
    • 93 Metascore
    • 100 Peter Bradshaw
    The film, with its transcendentally beautiful visuals...is a rich and rewarding experience. [1 Sept. 2011]
    • 86 Metascore
    • 100 Peter Bradshaw
    It is a beautifully acted, exquisitely considered chamber drama of subtlety and nuance: spellbindingly tender and utterly involving
    • 81 Metascore
    • 100 Peter Bradshaw
    Django Unchained also has the pure, almost meaningless excitement which I found sorely lacking in Tarantino's previous film, Inglourious Basterds, with its misfiring spaghetti-Nazi trope and boring plot. I can only say Django delivers, wholesale, that particular narcotic and delirious pleasure that Tarantino still knows how to confect in the cinema, something to do with the manipulation of surfaces. It's as unwholesome, deplorable and delicious as a forbidden cigarette.
    • 92 Metascore
    • 100 Peter Bradshaw
    Brilliantly written, terrifically acted, superbly designed and shot; it's a sweet, sad, funny picture about the lost world of folk music which effortlessly immerses us in the period.
    • 82 Metascore
    • 100 Peter Bradshaw
    With his two early features, "Distant" (2002) and "Climates" (2006), Ceylan has showed himself a superb film-maker. This is his greatest so far.
    • 64 Metascore
    • 100 Peter Bradshaw
    This is an unrepentantly cynical take on the hope-and-change promised to the US in 2008; this year's election race makes it look even bleaker, an icily confident black comedy of continued disillusion.
    • 90 Metascore
    • 100 Peter Bradshaw
    This Is Not a Film is a compelling personal document, a quietly passionate statement of artistic intent, and an uncompromising testament to his belief in cinema.
    • 84 Metascore
    • 100 Peter Bradshaw
    Weird and wonderful, rich and strange – barking mad, in fact. It is wayward, kaleidoscopic, black comic and bizarre; there is in it a batsqueak of genius, dishevelment and derangement; it is captivating and compelling.
    • 94 Metascore
    • 100 Peter Bradshaw
    The icy message may be that love is not a consolation as we face death. Rather the reverse. Love will give your death meaning, but make it no less unbearable.
    • 87 Metascore
    • 100 Peter Bradshaw
    An enormous pleasure. The performances are so fresh and natural – yet so subtle and delicately judged. The direction is superb in its control and the cinematography creates a gripping docu-realist vision.
    • 94 Metascore
    • 100 Peter Bradshaw
    Before Midnight is intimate and intelligent, and also undemanding in the best possible way,
    • 78 Metascore
    • 100 Peter Bradshaw
    After all those false dawns, non-comebacks and semi-successful Euro jeux d'esprit, Allen has produced an outstanding movie, immensely satisfying and absorbing, and set squarely on American turf: that is, partly in San Francisco and partly in New York.
    • 82 Metascore
    • 100 Peter Bradshaw
    It is extremely pleasurable to watch, and shows every sign of having been extremely pleasurable to make.
    • 90 Metascore
    • 100 Peter Bradshaw
    An unmissable, transcendentally beautiful classic. [28 Aug. 1998]
    • 91 Metascore
    • 100 Peter Bradshaw
    Polley tackles painful issues with candour and tact. She has a gripping tale to tell. It's a film that raises questions about the ownership of memory and ownership of narrative.
    • 89 Metascore
    • 100 Peter Bradshaw
    It is a gut-churning film: and a radical dive into history, grabbing the past in a way a conventional documentary would not.
    • 37 Metascore
    • 100 Peter Bradshaw
    Only God Forgives will, understandably, have people running for the exits, and running for the hills. It is very violent, but Winding Refn's bizarre infernal creation, an entire created world of fear, really is gripping. Every scene, every frame, is executed with pure formal brilliance.
    • 80 Metascore
    • 100 Peter Bradshaw
    Utterly distinctive and all but unclassifiable, a musique concrète nightmare, a psycho-metaphysical implosion of anxiety, with strange-tasting traces of black comedy and movie-buff riffs. It is seriously weird and seriously good.
    • 72 Metascore
    • 100 Peter Bradshaw
    This is a jewel of American cinema.
    • 86 Metascore
    • 100 Peter Bradshaw
    This movie looks and feels superb, it is pure couture cinema. But there is also a excess of richness and bombast and for all its sleekness I felt that the spark of emotion was being hidden, and there is a kind of frustration in the operatic sadness.
    • 93 Metascore
    • 100 Peter Bradshaw
    It is a brilliant, subversive account of class relations and the changing times.
    • 82 Metascore
    • 100 Peter Bradshaw
    It is a gripping film: horrible, scary and desperately sad.
    • 92 Metascore
    • 100 Peter Bradshaw
    A tense dramatic situation and a subtly magnificent central performance from Marion Cotillard add up to an outstanding new movie from the Dardenne brothers.
    • 97 Metascore
    • 100 Peter Bradshaw
    What a glorious film this is, richly and immediately enjoyable, hitting its satisfying stride straight away. It's funny and visually immaculate; it combines domestic intimacy with an epic sweep and has a lyrical, mysterious quality that perfumes every scene, whether tragic or comic.
    • 99 Metascore
    • 100 Peter Bradshaw
    Leviathan is acted and directed with unflinching ambition, moving with deliberative slowness and periodically accelerating at moments of high drama and suspense. It isn't afraid of massive symbolic moments and operatic gestures.
    • 72 Metascore
    • 100 Peter Bradshaw
    Exhibition is challenging, sensual, brilliant film-making.
    • 82 Metascore
    • 100 Peter Bradshaw
    There is something exacting and audacious in it, something superbly controlled in its composition and technique. The clarity of her film-making diction is a marvel – even, or perhaps especially, when the nature of the story itself remains murkily unrevealed.
    • 91 Metascore
    • 100 Peter Bradshaw
    The Look of Silence — like The Act of Killing — is arresting and important film-making.
    • 88 Metascore
    • 100 Peter Bradshaw
    Citizenfour is a gripping record of how our rulers are addicted to gaining more and more power and control over us – if we let them.

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