Peter Bradshaw
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For 358 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 0.3 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Night Will Fall
Lowest review score: 20 The Internship
Score distribution:
  1. Negative: 27 out of 358
358 movie reviews
    • 55 Metascore
    • 40 Peter Bradshaw
    There is a fair amount of not sufficiently witty or lovable banter, and Paula Patton gets to play Katharine Ross to their Butch and Sundance. She really has nothing to do except pose fetchingly in her underwear. Not much firepower.
    • 57 Metascore
    • 40 Peter Bradshaw
    You'll need to have a very sweet tooth for this, and it makes light of those difficult sexual politics that Mad Men attacked with such fierce satire.
    • 49 Metascore
    • 40 Peter Bradshaw
    The results are by turns boring and bizarre, although Diesel still has some presence.
    • 61 Metascore
    • 40 Peter Bradshaw
    A few laughs.
    • 56 Metascore
    • 40 Peter Bradshaw
    For the first half-hour it's got a full-on horrible energy, but there isn't enough humour for it to qualify as comedy, and not enough reality or plausible characterisation to justify calling it any sort of procedural noir.
    • 41 Metascore
    • 40 Peter Bradshaw
    It has a sort of soapy reliability, but compare it to the blazing passion of Baz Luhrmann's modern-day version with Leonardo DiCaprio and Claire Danesin gangland LA and it looks pretty feeble. Plus, the liberties taken with the text mean that it might not even be all that suitable for school parties.
    • 40 Metascore
    • 40 Peter Bradshaw
    It's a road movie that runs out of road – and out of ideas.
    • 82 Metascore
    • 40 Peter Bradshaw
    There's a too-cute-to-be-true ending to this US indie movie by the much-acclaimed young director Destin Cretton; I couldn't buy it, and found myself wondering if I had kept the receipt for the rest of the film too.
    • 42 Metascore
    • 40 Peter Bradshaw
    Frankly, the performances and line-readings are uneven. The couple's journey through night-time London is interesting: both have a painful past that they are at first reluctant to discuss, especially Maya, but these disclosures are not dramatically developed in any really satisfying way.
    • 55 Metascore
    • 40 Peter Bradshaw
    Everyone is trying way too hard and Dom's final speech is toe-curlingly misjudged and charmless.
    • 39 Metascore
    • 40 Peter Bradshaw
    Looks dated and clunky, like a drawn-out episode of Roald Dahl's Tales of the Unexpected on TV, and the direction doesn't have Softley's usual drive.
    • 36 Metascore
    • 40 Peter Bradshaw
    In the main, it's the usual story – much more rom than com.
    • 52 Metascore
    • 40 Peter Bradshaw
    This comedy never quite relaxes or convinces or comes together, despite a blue-chip pedigree and a great cast.
    • 48 Metascore
    • 40 Peter Bradshaw
    It really is pretty dull, though, with the same moments of campy silliness: the same frowning gym bunnies with the same digitally enhanced abs.
    • 51 Metascore
    • 40 Peter Bradshaw
    the film is often stately and sluggish with some very daytime-soapy moments of emotional revelation.
    • 50 Metascore
    • 40 Peter Bradshaw
    Saint Laurent is a well made but bafflingly airless and claustrophobic film.
    • 36 Metascore
    • 40 Peter Bradshaw
    It could be that Hazanavicius wanted, once again, to channel some of that Old Hollywood big-hearted sincerity — just as he did with his silent-movie triumph The Artist. But the outcome here is naive and misjudged.
    • 35 Metascore
    • 40 Peter Bradshaw
    It is colossally indulgent, shapeless, often fantastically and unthinkingly offensive and at all times insufferably conceited. Yet it is frustrating precisely because it sometimes isn't so bad. There is something in there somewhere - striking images and moments, and the crazy energy of a folie de grandeur.
    • 71 Metascore
    • 40 Peter Bradshaw
    It is basically deadly serious, and after some moderate knockaboutfun, settles into something pretty dull. Where's the edge?
    • 51 Metascore
    • 40 Peter Bradshaw
    The film's purpose is the reverent mystification of everything that avowedly makes YSL special.
    • 45 Metascore
    • 40 Peter Bradshaw
    This really doesn't have the fun or the zip of that earlier Miami adventure. The dialogue is even more tired and, crucially, the dance sequences themselves are looking less fresh this time around.
    • 38 Metascore
    • 40 Peter Bradshaw
    There are some interestingly contrived moments of claustrophobia and surreal lunacy, but this cliched and slightly hand-me-down script neither scares nor amuses very satisfyingly.
    • 54 Metascore
    • 40 Peter Bradshaw
    Bogdanovich is a formidable figure, but with this movie he’s just coasting. He surely needs to find a screenplay more attuned to his brilliance, rather than a derivative, low-octane comedy.
    • 47 Metascore
    • 40 Peter Bradshaw
    It is soulless, like something that has been generated by a computer programme.
    • 44 Metascore
    • 40 Peter Bradshaw
    It is a tense, claustrophobic nightmare, played with sincerity and force, particularly by Adam Driver. But a strident orchestral score keeps intruding, dark chords telling us how scared we ought to be, and it is as if Costanzo is not content with an ultra-real relationship drama, and wants his film to be some kind of heavy-handed horror-thriller too.
    • 32 Metascore
    • 40 Peter Bradshaw
    Just occasionally, the story accelerates to a canter,and Gilbey works hard to deliver some bangs for your buck. But it soon collapses into cliches. "Plastic" just about covers it.
    • 57 Metascore
    • 40 Peter Bradshaw
    Binoche's performance – tiresomely radiating a martyred integrity – is mannered and self-conscious, and her character's professional work is naively imagined.
    • 51 Metascore
    • 40 Peter Bradshaw
    Perhaps any screenwriting teacher could explain why romantic comedies such as this frontload it with all the jokes in the first act, and then get progressively sentimental and humourless. This one becomes gooier and squishier until the comedy has entirely gone.
    • 32 Metascore
    • 40 Peter Bradshaw
    It’s a strange, naive work, with something fundamentally misjudged about the drama, characterisation and casting.
    • 38 Metascore
    • 40 Peter Bradshaw
    It is grown-up, respectable and historical, perfectly competently made, lots of accents and period dressing-up … and just the tiniest bit dull.

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