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 Son of Saul
Lowest review score: 20 Red Dawn
Score distribution:
  1. Negative: 31 out of 391
391 movie reviews
    • 61 Metascore
    • 40 Peter Bradshaw
    A few laughs.
    • 51 Metascore
    • 40 Peter Bradshaw
    It's a thriller in which the twists become so absurd that it becomes a kind of caper, but without the humour.
    • 46 Metascore
    • 40 Peter Bradshaw
    It's evasive and feeble; Julia Roberts is not a properly funny or satisfying villain, and yet neither is she the interestingly flawed, even sympathetic figure she might have been if the film had kept the all-important question she asks the mirror.
    • 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.
    • 76 Metascore
    • 40 Peter Bradshaw
    It is a beautifully shot, and very nicely acted beginning to something: but finally frustrating.
    • 55 Metascore
    • 40 Peter Bradshaw
    Brandon Cronenberg's movie is made with some technical skill and focus, but it is agonisingly self-regarding and tiresome.
    • 54 Metascore
    • 40 Peter Bradshaw
    Nicholas McCarthy's The Pact is a horror film developed from a short, and unfortunately it splits apart while being stretched out to feature length.
    • 51 Metascore
    • 40 Peter Bradshaw
    Good intentions are all but submerged in nonsense.
    • 43 Metascore
    • 40 Peter Bradshaw
    It's a bit of a flavourless CGI-fest, without the character and comedy of the Arnie version, and it never really gets to grips with the idea of "reality" as a slippery, malleable concept.
    • 46 Metascore
    • 40 Peter Bradshaw
    It's made with gusto, but there's little dramatic interest for non-enthusiasts.
    • 48 Metascore
    • 40 Peter Bradshaw
    The comic material really isn't there, and the plot transitions feel forced and uncomfortable.
    • 54 Metascore
    • 40 Peter Bradshaw
    Baldwin has some brilliant moments as he icily dismisses Monica's posturing: his final closeup – heavy-lidded, undeceived – is fascinating and rather chilling.
    • 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.
    • 52 Metascore
    • 40 Peter Bradshaw
    Despite all those fierce confrontations and tribal divisions, exhaustively rehearsed and mythologised, nobody's really a bad guy and nothing's really at stake.
    • 65 Metascore
    • 40 Peter Bradshaw
    As the couple try to rekindle the bedroom flame the note of cutesy comedy kicks in and the movie gets phonier and phonier.
    • 57 Metascore
    • 40 Peter Bradshaw
    Winterbottom's location work in Jaipur and Mumbai has richness and spectacle, but somehow this does not come fully to life.
    • 55 Metascore
    • 40 Peter Bradshaw
    It's amiable enough, but it makes "The Flintstones" look like it was scripted by Karl Popper.
    • 68 Metascore
    • 40 Peter Bradshaw
    Despite the violence and procedural detail, this is about as gritty as Dixon of Dock Green.
    • 55 Metascore
    • 40 Peter Bradshaw
    A disappointing excursion into movie history.
    • 35 Metascore
    • 40 Peter Bradshaw
    It's competently made, but pointless.
    • 72 Metascore
    • 40 Peter Bradshaw
    For me, it never came to life.
    • 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.
    • 49 Metascore
    • 40 Peter Bradshaw
    Inevitably, the guys wind up sentimentally telling each other they should do this every year. Please no.
    • 37 Metascore
    • 40 Peter Bradshaw
    Bill Nighy and Toby Kebbell liven things up in the supporting cast.
    • tbd Metascore
    • 40 Peter Bradshaw
    It's all a bit tame, predictable and muted; the inevitable revelation of German decency seems contrived and there's an outrageous plot cop-out towards the end. It's a reminder of how David Lean exploited this kind of drama with more potency in "The Bridge on the River Kwai."
    • 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.
    • 43 Metascore
    • 40 Peter Bradshaw
    One of those agonisingly well-intentioned films whose heart is in the right place, but everything else is wrong.
    • 45 Metascore
    • 40 Peter Bradshaw
    This is really very humdrum stuff compared to the electric strangeness of "Intact."
    • 56 Metascore
    • 40 Peter Bradshaw
    On the Road does, ultimately, have a touching kind of sadness in showing how poor Dean is becoming just raw material for fiction, destined to be left behind as Sal becomes a New York big-shot. But this real sadness can't pierce or dissipate this movie's tiresome glow of self-congratulation.
    • 77 Metascore
    • 40 Peter Bradshaw
    The Immigrant is certainly different: but Gray seems to run out of ideas and the film is shapeless and unsatisfying.

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