Peter Bradshaw
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For 366 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 Night Will Fall
Lowest review score: 20 Red Dawn
Score distribution:
  1. Negative: 28 out of 366
366 movie reviews
    • 32 Metascore
    • 40 Peter Bradshaw
    It’s a strange, naive work, with something fundamentally misjudged about the drama, characterisation and casting.
    • 74 Metascore
    • 40 Peter Bradshaw
    A drama with interesting moments, but also some false notes and a wildly bizarre ending.
    • 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.
    • 35 Metascore
    • 40 Peter Bradshaw
    It's rammed with cliches and silliness and conforms to a lot of stereotypes, the most suspect being the obligatory scene in Ibiza whose only purpose is to show loads of young women with no tops on.
    • 50 Metascore
    • 40 Peter Bradshaw
    Overcooked, overcomplicated and underinteresting, this heist caper turns into a mess.
    • 37 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.
    • 64 Metascore
    • 40 Peter Bradshaw
    Nanni Moretti's new film is occasionally amusing, but is also a frustrating and directionless experience.
    • 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.
    • 35 Metascore
    • 20 Peter Bradshaw
    Poor Princess Diana. I hesitate to use the term "car crash cinema". But the awful truth is that, 16 years after that terrible day in 1997, she has died another awful death.
    • 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.
    • 39 Metascore
    • 20 Peter Bradshaw
    Director Niels Arden Orpev was in charge of the original "Girl with the Dragon Tattoo," starring Rapace, but fails to create a revenge thriller with anything like the same focus.
    • 68 Metascore
    • 20 Peter Bradshaw
    There can hardly be a bigger waste of time than this piece of twee nonsense.
    • 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.
    • 21 Metascore
    • 20 Peter Bradshaw
    It is a film so awe-inspiringly wooden that it is basically a fire-risk. The cringe-factor is ionospherically high.
    • 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.
    • 26 Metascore
    • 20 Peter Bradshaw
    It’s difficult to know what subtitle to give this. Taken 3: Not Again, or Taken 3: Seriously? or Taken 3: This Is Getting a Bit Much Frankly.
    • 73 Metascore
    • 20 Peter Bradshaw
    It goes on for ever without getting properly started: an epic of depthless self-indulgence.
    • 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.
    • 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.
    • 48 Metascore
    • 20 Peter Bradshaw
    The two adjectives in the title should be replaced with "annoying" and "unendurably tiresome".
    • 33 Metascore
    • 20 Peter Bradshaw
    A real Christmas miracle would cause every copy of this film to spontaneously burst into flames.
    • 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.
    • 52 Metascore
    • 20 Peter Bradshaw
    A deafening, boring action pile-up that is more Call of Duty than Robocop.
    • 41 Metascore
    • 20 Peter Bradshaw
    A strained jeu d'ésprit which is smug, precious, carelessly constructed, emotionally negligible, and above all fantastically annoying. It's a terrible waste of real acting talent.
    • 7 Metascore
    • 20 Peter Bradshaw
    All the material about social media looks forced and behind the curve, and nothing about the movie is really convincing or entertaining on any level, making it valueless as drama or satire.
    • 33 Metascore
    • 20 Peter Bradshaw
    He's done it again. M Night Shyamalan has done it again. Again. Done it. Again. He has given us another film for which the only appropriate expression is stammering, gibbering wonder that anyone can keep making such uncompromisingly terrible movies with such stamina and dedication.
    • 35 Metascore
    • 20 Peter Bradshaw
    It is put together with technical competence, but is entirely cliched and preposterous, and it implodes into its own fundamental narrative implausibility.
    • 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.
    • 36 Metascore
    • 20 Peter Bradshaw
    As a straight procedural, this might have worked if Egoyan did not try the audience's patience and insult their intelligence with how utterly implausible his drama is. But line by line, scene by scene, it is offensively preposterous and crass.

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