Peter Bradshaw
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For 367 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 0.2 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 Hansel and Gretel: Witch Hunters
Score distribution:
  1. Negative: 28 out of 367
367 movie reviews
    • 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.
    • 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.
    • 72 Metascore
    • 80 Peter Bradshaw
    This documentary by Mike Lerner and Maxim Pozdorovkin argues that Pussy Riot suffered an old-fashioned Soviet show trial, and what emerges is the effrontery and hypocrisy of Putin's attempt to associate these three young women with the Bolsheviks' suppression of religion.
    • 63 Metascore
    • 80 Peter Bradshaw
    Devotees of Dumont's earlier films – particularly his 1999 film "Humanity" – will instantly recognise the style, the locale, the narrative, the bizarre quasi-realism, in which events take place in a world infinitesimally different from the one we inhabit. As ever, the visionary, radioactive glow is compelling.
    • 71 Metascore
    • 80 Peter Bradshaw
    It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline.
    • 91 Metascore
    • 80 Peter Bradshaw
    Abderrahmane Sissako's passionate and visually beautiful film Timbuktu is a cry from the heart.
    • 76 Metascore
    • 80 Peter Bradshaw
    He lived until recently in bohemian chaos in one of the "artist apartments" in Carnegie Hall, and cares nothing for money or vanity. That's real class.
    • 74 Metascore
    • 80 Peter Bradshaw
    There is release at the end of this fine film, but no euphoria; just a sense of having come through a period of evil, the memory of whose darkness will never entirely lift.
    • 62 Metascore
    • 80 Peter Bradshaw
    Dreams of a Life is a painful film, a Christmas film with no feelgood message, but one which I think would in fact have interested Charles Dickens. Watching it is an almost claustrophobic experience, but a very powerful and moving one.
    • 58 Metascore
    • 80 Peter Bradshaw
    The Dictator isn't going to win awards and it isn't as hip as Borat. Big goofy outrageous laughs is what it has to offer.
    • 78 Metascore
    • 80 Peter Bradshaw
    In the Fog is an intense, slow-burning and haunting drama.
    • 78 Metascore
    • 80 Peter Bradshaw
    It's a gem: gentle, eccentric, possessed of a distinctive sort of innocence – and also charming and funny.
    • 88 Metascore
    • 80 Peter Bradshaw
    About Elly confirms Farhadi's shrewd judgment of pace, dramatic technique and formal control of an ensemble cast.
    • 76 Metascore
    • 80 Peter Bradshaw
    The endlessly prolific Takashi Miike returns with this superbly acted revenger's tragedy.
    • 77 Metascore
    • 80 Peter Bradshaw
    Calin Peter Netzer's Child's Pose is a gripping new drama from Romania and another demonstration of how that country's new wave is developing a distinctive kind of real-time slice-of-life cinema with characterisation in extreme, pitiless closeup.
    • 80 Metascore
    • 80 Peter Bradshaw
    White God works as an ambiguous satire of power relations generally: eventually the lower orders will rise up. The film has a flair and a bite which I have found lacking in Mundruczó's earlier films.
    • 83 Metascore
    • 80 Peter Bradshaw
    Gloria is a sad, painful romantic story.
    • 80 Metascore
    • 80 Peter Bradshaw
    A gripping documentary.
    • 86 Metascore
    • 80 Peter Bradshaw
    Beasts of the Southern Wild is a vividly poetic and maybe even therapeutic response to one of the most painful and mortifying episodes in modern American history, second only to 9/11.
    • 87 Metascore
    • 80 Peter Bradshaw
    The film is unafraid of emotion, unafraid of plunging into basic human ideas: the need for trust, and the search for love.
    • 56 Metascore
    • 80 Peter Bradshaw
    We call our House of Commons proceedings Punch and Judy: but the climate-change deniers on Fox News are Punch on steroids. It's a chilling and depressing picture.
    • 83 Metascore
    • 80 Peter Bradshaw
    This a quasi-war movie set in peacetime; these men are fighting to the death, but not for nation or principle or ideology — or at least, not a conscious ideology: they are caught in larger economic currents.
    • 55 Metascore
    • 80 Peter Bradshaw
    A valuable, meticulously observed and wonderfully acted social-realist feature about a family under pressure.
    • 71 Metascore
    • 80 Peter Bradshaw
    Welcome to New York proves thoroughly engrossing. Here is a work of ragged glory; dirty and galvanic. [Unrated Version]
    • 66 Metascore
    • 80 Peter Bradshaw
    Ken Loach's latest collaboration with screenwriter Paul Laverty is warm, funny and good-natured. It's a freewheeling social-realist caper – unworldly and at times almost childlike.
    • 66 Metascore
    • 80 Peter Bradshaw
    The "breathing" of the title becomes a cleverly recurrent motif, and Markovics's script circles around the themes of death and life in thoughtful and elegant ways: it is a well-carpentered screenplay which bears every sign of having been a labour of love, worked on fruitfully over many years.
    • 70 Metascore
    • 80 Peter Bradshaw
    Perhaps above everything else, Arnold returns us to the most potent fact about the Cathy and Heathcliff love affair: it is a love affair between equals, not between a woman with coquettish "erotic capital" and a man with property and status.
    • 81 Metascore
    • 80 Peter Bradshaw
    No
    A fascinating case study in basic-level democracy.
    • 84 Metascore
    • 80 Peter Bradshaw
    A very charming, beautifully wrought, if somehow depthless film - eccentric but heartfelt, and thought through to the tiniest, quirkiest detail in the classic Anderson style.
    • 45 Metascore
    • 80 Peter Bradshaw
    Nicole Kidman gives her best performance since "To Die For."

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