Peter Bradshaw

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For 736 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 1.5 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Love Witch
Lowest review score: 20 Safe Haven
Score distribution:
  1. Negative: 50 out of 736
736 movie reviews
    • 95 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.
    • 92 Metascore
    • 100 Peter Bradshaw
    Lovely performances, and more superb gags in one minute than most movies manage in 90. It's like drinking champagne.
    • 84 Metascore
    • 100 Peter Bradshaw
    Get Out is very creepy, very funny and as pitiless as a surgeon’s scalpel.
    • 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.
    • 82 Metascore
    • 100 Peter Bradshaw
    LA film-maker Anna Biller achieves an ecstasy of artificiality in this amazing retro fantasy horror, delivered with absolute conviction.
    • 94 Metascore
    • 100 Peter Bradshaw
    It is not free of plot-holes...but what a supremely stylish and watchable picture it is.
    • 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.
    • 87 Metascore
    • 100 Peter Bradshaw
    A stirring classic.
    • 72 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.
    • 92 Metascore
    • 100 Peter Bradshaw
    The Look of Silence — like The Act of Killing — is arresting and important film-making.
    • 88 Metascore
    • 100 Peter Bradshaw
    Andrei Zvyagintsev’s Loveless is a stark, mysterious and terrifying story of spiritual catastrophe: a drama with the ostensible form of a procedural crime thriller. It has a hypnotic intensity and unbearable ambiguity which is maintained until the very end.
    • 93 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.
    • 60 Metascore
    • 100 Peter Bradshaw
    It’s deeply silly but uproariously entertaining. At the end, I almost felt guilty for enjoying it all quite so much - almost.
    • 81 Metascore
    • 100 Peter Bradshaw
    The idea of sacrifice permeates everything, along with the cruelty and horror. This is Cimino's masterpiece.
    • 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.
    • 94 Metascore
    • 100 Peter Bradshaw
    It could be the finest hour for both of its lead actors.
    • 97 Metascore
    • 100 Peter Bradshaw
    Some elements seem grotesquely dated, but this restoration of the 1939 classic finds the film as powerful and mad as ever.
    • 93 Metascore
    • 100 Peter Bradshaw
    This is a dark, uncompromising film, thrillingly original and distinctive, with a visionary passion. It is a movie against which all directors, and all moviegoers, will want to measure themselves.
    • 74 Metascore
    • 100 Peter Bradshaw
    As horror it is ridiculous, as comedy it is startling and hilarious, and as a machine for freaking you out it is a thing of wonder.
    • 68 Metascore
    • 100 Peter Bradshaw
    Tarantino has created another breathtakingly stylish and clever film, a Jacobean western, intimate yet somehow weirdly colossal, once again releasing his own kind of unwholesome crazy-funny-violent nitrous oxide into the cinema auditorium for us all to inhale.
    • 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.
    • 96 Metascore
    • 100 Peter Bradshaw
    Spirited Away is fast and funny; it's weird and wonderful. Mostly wonderful.
    • 85 Metascore
    • 100 Peter Bradshaw
    This film has what its title implies: a heartbeat. It is full of cinematic life.
    • 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.
    • 75 Metascore
    • 100 Peter Bradshaw
    It is not a new direction for this film-maker, admittedly, but an existing direction pursued with the same dazzling inspiration as ever. It is also as gripping as a satanically inspired soap opera, a dynasty of lost souls.

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