Peter Bradshaw
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For 391 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 0.5 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Amour
Lowest review score: 20 Grace of Monaco
Score distribution:
  1. Negative: 31 out of 391
391 movie reviews
    • 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.
    • 72 Metascore
    • 100 Peter Bradshaw
    This is a jewel of American cinema.
    • 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.
    • 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.
    • 85 Metascore
    • 100 Peter Bradshaw
    This is an extraordinary record. But be warned. Once seen, these images cannot be unseen.
    • 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.
    • 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 extremely pleasurable to watch, and shows every sign of having been extremely pleasurable to make.
    • 90 Metascore
    • 100 Peter Bradshaw
    By any standards, this would be an outstanding film, but for a debut it is remarkable.
    • 94 Metascore
    • 100 Peter Bradshaw
    Before Midnight is intimate and intelligent, and also undemanding in the best possible way,
    • 98 Metascore
    • 100 Peter Bradshaw
    It is a creamily sensuous, richly observed piece of work, handsomely detailed and furnished: the clothes, the hair, the automobiles, the train carriages, the record players, the lipstick and the cigarettes are all superbly presented. The combination of all this is intoxicating in itself.
    • 83 Metascore
    • 100 Peter Bradshaw
    Mitchell brings off some sensational setpieces of fear and suspense. I can’t remember when I was last so royally freaked out in the cinema.
    • 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
    • 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.
    • 80 Metascore
    • 100 Peter Bradshaw
    It is a masterpiece of black-comic bad taste and a positive carnival of transgression. The secret is the deadpan seriousness with which everything is treated.
    • 91 Metascore
    • 100 Peter Bradshaw
    The Look of Silence — like The Act of Killing — is arresting and important film-making.
    • 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.
    • 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.
    • 85 Metascore
    • 100 Peter Bradshaw
    Amy
    It is an overwhelming story, and despite everyone knowing the ending, it is as gripping as a thriller: Kapadia has fashioned and shaped it with masterly flair.
    • 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.
    • 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.
    • 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.
    • 92 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.
    • 94 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.
    • 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.
    • 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.
    • 90 Metascore
    • 100 Peter Bradshaw
    An unmissable, transcendentally beautiful classic. [28 Aug. 1998]

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