Peter Bradshaw

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For 691 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 1.1 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Fantastic Beasts and Where to Find Them
Lowest review score: 20 Red Dawn
Score distribution:
  1. Negative: 50 out of 691
691 movie reviews
    • 86 Metascore
    • 100 Peter Bradshaw
    [An] outrageously enjoyable petrolhead heist caper.
    • 94 Metascore
    • 100 Peter Bradshaw
    What a glorious film this is, richly and immediately enjoyable, hitting its satisfying stride straight away. It's funny and visually immaculate; it combines domestic intimacy with an epic sweep and has a lyrical, mysterious quality that perfumes every scene, whether tragic or comic.
    • 82 Metascore
    • 100 Peter Bradshaw
    There is something exacting and audacious in it, something superbly controlled in its composition and technique. The clarity of her film-making diction is a marvel – even, or perhaps especially, when the nature of the story itself remains murkily unrevealed.
    • 81 Metascore
    • 100 Peter Bradshaw
    Django Unchained also has the pure, almost meaningless excitement which I found sorely lacking in Tarantino's previous film, Inglourious Basterds, with its misfiring spaghetti-Nazi trope and boring plot. I can only say Django delivers, wholesale, that particular narcotic and delirious pleasure that Tarantino still knows how to confect in the cinema, something to do with the manipulation of surfaces. It's as unwholesome, deplorable and delicious as a forbidden cigarette.
    • 100 Metascore
    • 100 Peter Bradshaw
    Seventy years on, this great romantic noir is still grippingly powerful: a movie made at a time when it was far from clear the Nazis were going to lose.
    • 90 Metascore
    • 100 Peter Bradshaw
    An unmissable, transcendentally beautiful classic. [28 Aug. 1998]
    • 94 Metascore
    • 100 Peter Bradshaw
    The icy message may be that love is not a consolation as we face death. Rather the reverse. Love will give your death meaning, but make it no less unbearable.
    • 81 Metascore
    • 100 Peter Bradshaw
    The Force Awakens is ridiculous and melodramatic and sentimental of course, but exciting and brimming with energy and its own kind of generosity. What a Christmas present.
    • 81 Metascore
    • 100 Peter Bradshaw
    The story unfolds in a daring sequence of narrative leaps.
    • 67 Metascore
    • 100 Peter Bradshaw
    Some of the scenes in the LA art world are a bit broad. But this is a terrifically absorbing thriller with that vodka-kick of pure malice.
    • 64 Metascore
    • 100 Peter Bradshaw
    This is an unrepentantly cynical take on the hope-and-change promised to the US in 2008; this year's election race makes it look even bleaker, an icily confident black comedy of continued disillusion.
    • 89 Metascore
    • 100 Peter Bradshaw
    A tense dramatic situation and a subtly magnificent central performance from Marion Cotillard add up to an outstanding new movie from the Dardenne brothers.
    • 76 Metascore
    • 100 Peter Bradshaw
    This quietly amazing film is conceived in terms of pure minimalist intimacy.
    • 66 Metascore
    • 100 Peter Bradshaw
    That entertainment enchanter JK Rowling has come storming back to the world of magic in a shower of supernatural sparks - and created a glorious fantasy-romance adventure.
    • 76 Metascore
    • 100 Peter Bradshaw
    Cleverly, it gives us enigmatic backstory hints that may or may not help explain the sudden direction change the film takes in its third act, leading to a denouement of toxic ingenuity. And of all it driven by the sensuality and rage of Pugh’s performance.
    • 91 Metascore
    • 100 Peter Bradshaw
    It is deeply intelligent, intensely and painfully political, and yet attempts, and succeeds, somehow to transcend politics and perhaps even history itself.
    • 81 Metascore
    • 100 Peter Bradshaw
    It is a gripping film: horrible, scary and desperately sad.
    • 81 Metascore
    • 100 Peter Bradshaw
    Bridge of Spies has a brassy and justified confidence in its own narrative flair.
    • 83 Metascore
    • 100 Peter Bradshaw
    Trainspotting is supercharged with sulphurous humour and brutal recklessness.
    • 84 Metascore
    • 100 Peter Bradshaw
    Weird and wonderful, rich and strange – barking mad, in fact. It is wayward, kaleidoscopic, black comic and bizarre; there is in it a batsqueak of genius, dishevelment and derangement; it is captivating and compelling.
    • 91 Metascore
    • 100 Peter Bradshaw
    Polley tackles painful issues with candour and tact. She has a gripping tale to tell. It's a film that raises questions about the ownership of memory and ownership of narrative.
    • 86 Metascore
    • 100 Peter Bradshaw
    The elusiveness of the film is precisely the point: it is as beautiful and mysterious as a poem and its formal elegance and conviction are unarguable. What makes it a must-see, however, is the generous, unselfconscious passion of Jacob's performance as a young woman - two young women - in love.
    • 85 Metascore
    • 90 Peter Bradshaw
    It may seem grainy and fusty compared to the all-action tongue-in-cheek spectaculars that came later, but it's the Bond closest to my heart.
    • 72 Metascore
    • 80 Peter Bradshaw
    This documentary by Mike Lerner and Maxim Pozdorovkin argues that Pussy Riot suffered an old-fashioned Soviet show trial, and what emerges is the effrontery and hypocrisy of Putin's attempt to associate these three young women with the Bolsheviks' suppression of religion.
    • 62 Metascore
    • 80 Peter Bradshaw
    It shouldn’t work, but it does, due to the intelligence of the acting and the stamina and concentration of the writing and directing.
    • 63 Metascore
    • 80 Peter Bradshaw
    Devotees of Dumont's earlier films – particularly his 1999 film "Humanity" – will instantly recognise the style, the locale, the narrative, the bizarre quasi-realism, in which events take place in a world infinitesimally different from the one we inhabit. As ever, the visionary, radioactive glow is compelling.
    • 90 Metascore
    • 80 Peter Bradshaw
    That adjective in the title is accurate. Extravagantly deranged, ear-splittingly cacophonous, and entirely over the top, George Miller has revived his Mad Max punk-western franchise as a bizarre convoy chase action-thriller in the post-apocalyptic desert.
    • 81 Metascore
    • 80 Peter Bradshaw
    This debut feature from Yorkshire-born actor and first-time director Francis Lee is tough, sensual, unsentimental, with excellent lead performances from Josh O’Connor and Alec Secareanu.
    • 53 Metascore
    • 80 Peter Bradshaw
    It’s terrifically watchable, a high-octane automobile of a film with dodgy steering, but exciting in a world of dull and prissy hybrids.
    • 71 Metascore
    • 80 Peter Bradshaw
    It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline.

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