Peter Bradshaw
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For 346 reviews, this critic has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% 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
Lowest review score: 20 After Earth
Score distribution:
  1. Negative: 26 out of 346
346 movie reviews
    • 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.
    • 45 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.
    • 51 Metascore
    • 20 Peter Bradshaw
    Dejah, with her seen-it-all-before smirk, is not a very sympathetic heroine, and Kitsch is stolid and dull. And as for the red planet, the answer to David Bowie's famous question is no. What a sadd'ning bore it is.
    • 40 Metascore
    • 20 Peter Bradshaw
    The gimmick behind this excruciating propagandist movie about the US special forces' war on terror is that it features not actors but actual Navy Seals.
    • 14 Metascore
    • 20 Peter Bradshaw
    This film is one long biopsy of pure horror: the tumours of sentimentality and bad acting metastasise everywhere, and Bernal, in particular, is horrendously bad.
    • 34 Metascore
    • 20 Peter Bradshaw
    An ingenious idea for a suspense thriller – or maybe even an old-fashioned, "Wait Until Dark"-style stage play – turns out instead to be the pretext for a crass, over-long and tiresome splatter nightmare.
    • 41 Metascore
    • 20 Peter Bradshaw
    A jaw-droppingly self-indulgent, shallow, smug if mercifully brief feature with a plot that looks like the outline for a pop video.
    • 47 Metascore
    • 20 Peter Bradshaw
    Doubtless, like The Producers, it will be adapted back into the theatre, some time in 2017, at which time it will be even more bland and tiring.
    • 68 Metascore
    • 20 Peter Bradshaw
    In theory, these are twentysomethings we're talking about. But they walk and talk like fortysomethings or fiftysomethings, such is their dullness and self-absorption.
    • 59 Metascore
    • 20 Peter Bradshaw
    Sadly, Savages plays up to Stone's worst tendencies: machismo, bombast and self-indulgence, and the factor that could conceivably have made this movie tolerable – humour – is off the menu.
    • 51 Metascore
    • 20 Peter Bradshaw
    It's leaden, boorish and dull.
    • 34 Metascore
    • 20 Peter Bradshaw
    As ever with a Sparks story, the action takes place in a sugary vision of small-town America that does not correspond with the real world at any point.
    • 21 Metascore
    • 20 Peter Bradshaw
    This movie is a case in point. It's a film which is so demeaningly bad, so utterly without merit, that there is a kind of purity in its awfulness. There is a Zen mastery in producing a film which nullifies the concept of pleasure.
    • 31 Metascore
    • 20 Peter Bradshaw
    This has to be the year's most pointless remake: a boring and badly acted reboot of John Milius's gung-ho red-scare actioner from 1984.
    • 73 Metascore
    • 20 Peter Bradshaw
    It goes on for ever without getting properly started: an epic of depthless self-indulgence.

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