Peter Bradshaw
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For 399 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 Son of Saul
Lowest review score: 20 Red Dawn
Score distribution:
  1. Negative: 32 out of 399
399 movie reviews
    • 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.
    • 46 Metascore
    • 40 Peter Bradshaw
    Janney steals the movie in the scene in which she discovers the awful truth.
    • 76 Metascore
    • 40 Peter Bradshaw
    It is a beautifully shot, and very nicely acted beginning to something: but finally frustrating.
    • 18 Metascore
    • 40 Peter Bradshaw
    Movie 43 is sketchy, in every sense. It's a collection of short comedy films in the manner of the 70s cult classic "Kentucky Fried Movie," each with a separate director, in which many very famous actors have been persuaded to take part.
    • 55 Metascore
    • 40 Peter Bradshaw
    A disappointing excursion into movie history.
    • 72 Metascore
    • 40 Peter Bradshaw
    For me, it never came to life.
    • 60 Metascore
    • 40 Peter Bradshaw
    Some of the acting isn't bad, but the story is messy and unsatisfying with a plot-hole you could drive a dozen combine harvesters through, the ending is an outrageous fudge and the lead performance from Dennis Quaid is strange to say the least.
    • 49 Metascore
    • 40 Peter Bradshaw
    Almost all the charm of the real story is lost through the contrivances and overacting.
    • tbd Metascore
    • 40 Peter Bradshaw
    There are some gruesomely ingenious moments in this gleefully yucky horror-comedy from director Conor McMahon, starring the standup comic Ross Noble. But I have to say it somehow wasn't funny or scary enough – though I do have to admit it is always more than revolting enough.
    • 49 Metascore
    • 40 Peter Bradshaw
    It runs out of steam, with plot revelations visible from a mile away and a bit of a plausibility gap.
    • 61 Metascore
    • 40 Peter Bradshaw
    Trance is a disappointment: a strident, chaotic, frantically overcooked film with an almost deafeningly intrusive ambient soundtrack. There is some embarrassing, eyeball-swivelling acting from the male leads, and the elegance of the film's premise is quite obliterated by its crude and misjudged violence.
    • 55 Metascore
    • 40 Peter Bradshaw
    It's amiable enough, but it makes "The Flintstones" look like it was scripted by Karl Popper.
    • 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.
    • 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."
    • 54 Metascore
    • 40 Peter Bradshaw
    Oblivion goes on for a long time, moving slowly and self-consciously, and it looks like a very expensive movie project that has been written and rewritten many times over. It is a shame: Cruise, Riseborough and Kurylenko as the last love triangle left on Planet Earth should have been quite interesting.
    • 60 Metascore
    • 40 Peter Bradshaw
    It looks weirdly like a romcom pastiche, not cynical, but not properly inhabited; it doesn't taste of romance or comedy any more than Andy Warhol's Campbell Soup cans taste of soup.
    • 41 Metascore
    • 40 Peter Bradshaw
    Part of the weirdness of this film lies in the fact that the tense North Korean situation in the real world gives it no realism or satirical edge, or prophetic authority of any kind.
    • 69 Metascore
    • 40 Peter Bradshaw
    Denis's drama intrigues more than it actually delivers...Sleight of hand is all well and good. But sooner or later a film must pay up.
    • 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.
    • 76 Metascore
    • 40 Peter Bradshaw
    This is a great-looking movie with a sure sense of time and place; it is obviously a personal, and in fact, autobiographical work about Assayas's own youth. But for all its flair, I came away dissatisfied at its colossal self-indulgence and creamy complacency, and the way historical perspective and meaning are permitted to dissolve in its sunlit nostalgia.
    • 46 Metascore
    • 40 Peter Bradshaw
    It's made with gusto, but there's little dramatic interest for non-enthusiasts.
    • 69 Metascore
    • 40 Peter Bradshaw
    Despite its moments of charm and caprice, the film is prolix, inert, indulgent and often just plain dull.
    • 35 Metascore
    • 40 Peter Bradshaw
    It's competently made, but pointless.
    • 49 Metascore
    • 40 Peter Bradshaw
    The sharp edges of the story are sentimentally sanded down; there's a fair bit of slush, and it's a pretty quaint view of what writers and a writer's life are actually like.
    • 48 Metascore
    • 40 Peter Bradshaw
    The comic material really isn't there, and the plot transitions feel forced and uncomfortable.
    • 51 Metascore
    • 40 Peter Bradshaw
    Good intentions are all but submerged in nonsense.
    • 64 Metascore
    • 40 Peter Bradshaw
    A syrupy drizzle of tasteful prettiness covers this cloying movie about the painter Pierre-Auguste Renoir (Michel Bouquet) and his film-maker son Jean Renoir (Vincent Rottiers).
    • 50 Metascore
    • 40 Peter Bradshaw
    Overcooked, overcomplicated and underinteresting, this heist caper turns into a mess.
    • 53 Metascore
    • 40 Peter Bradshaw
    There are some good ideas, strong moments and a blue-chip cast in Broken, the feature-film debut from award-winning theatre and opera director Rufus Norris. But they somehow don't come together successfully.
    • 72 Metascore
    • 40 Peter Bradshaw
    Refn delivers some shocks - but not the shock of the new.

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