Peter Bradshaw
Select another critic »
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
    • 83 Metascore
    • 60 Peter Bradshaw
    It’s an adventure which begins by being bizarre and hilarious but appears to run out of ideas at its mid-way point, and run out of interest in what had at first seemed to be its central comic image: humans turning into animals.
    • 75 Metascore
    • 60 Peter Bradshaw
    Garrel struggles to unearth anything new. The mechanics of the relationships on show fail to lead anywhere unexpected while the dialogue is often flat and on-the-nose.
    • 54 Metascore
    • 60 Peter Bradshaw
    It’s hardcore, yet much softer-core than Noé’s earlier movies, without the terrifying shock factor of Irréversible and Seul Contre Tous, and without the visual brilliance of Enter the Void, and Love is preposterous and badly acted and talky in a way that porn films haven’t been since they were designed to be shown in cinemas.
    • 78 Metascore
    • 60 Peter Bradshaw
    Youth has a wan eloquence and elegance, though freighted with sentimentality and a strangely unearned and uninteresting macho-geriatric regret for lost time, lost film projects, lost love and all those beautiful women that you never got to sleep with.
    • 70 Metascore
    • 60 Peter Bradshaw
    This is an attractively unparochial drama with a bracing interest in excellence.
    • 73 Metascore
    • 60 Peter Bradshaw
    It's solid entertainment.
    • 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.
    • 45 Metascore
    • 40 Peter Bradshaw
    This is really very humdrum stuff compared to the electric strangeness of "Intact."
    • 37 Metascore
    • 40 Peter Bradshaw
    Bill Nighy and Toby Kebbell liven things up in the supporting cast.
    • 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.
    • 64 Metascore
    • 40 Peter Bradshaw
    Nanni Moretti's new film is occasionally amusing, but is also a frustrating and directionless experience.
    • 43 Metascore
    • 40 Peter Bradshaw
    One of those agonisingly well-intentioned films whose heart is in the right place, but everything else is wrong.
    • 58 Metascore
    • 40 Peter Bradshaw
    It feels as if you've seen it many times before. Bill Nighy isn't in it, for example, and yet afterwards I had an intense memory of Bill Nighy being in it, the way amputees can feel their toes itching.
    • 62 Metascore
    • 40 Peter Bradshaw
    It is oddly like an Agatha Christie thriller with all the pasteboard characters, 2D backstories and foreign locale, but no murder.
    • 49 Metascore
    • 40 Peter Bradshaw
    Inevitably, the guys wind up sentimentally telling each other they should do this every year. Please no.
    • 57 Metascore
    • 40 Peter Bradshaw
    The result is tangled and overblown.
    • 42 Metascore
    • 40 Peter Bradshaw
    Robert Pattinson has to do an awful lot of hollow-eyed smouldering in this hammily enunciated French period drama, taken from the 1885 novel by Guy de Maupassant.
    • 74 Metascore
    • 40 Peter Bradshaw
    A drama with interesting moments, but also some false notes and a wildly bizarre ending.
    • 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.
    • 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.
    • 49 Metascore
    • 40 Peter Bradshaw
    With the fourth film, the Ice Age family animation franchise is looking almost extinct.
    • 51 Metascore
    • 40 Peter Bradshaw
    There's some comedy in there, too, intentional – mostly. As a poignant study of the ageing process, it's on a rough par with "The Best Exotic Marigold Hotel." For The Expendables 3, they might want to consider enlisting Bill Nighy, Tom Wilkinson and Judi Dench.
    • 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.
    • 68 Metascore
    • 40 Peter Bradshaw
    Despite the violence and procedural detail, this is about as gritty as Dixon of Dock Green.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Peter Bradshaw
    The premise is looking pretty tired.
    • 53 Metascore
    • 40 Peter Bradshaw
    The snuff-porn aesthetic might suggest a realist drama, but a supernatural dimension is brought into play, making the plot directionless. There isn't an ounce of ingenuity in the way the movie is concluded, but some generic expertise in the way it is put together.
    • 47 Metascore
    • 40 Peter Bradshaw
    Comedy gothic isn't exactly novel, and frankly there is a sense here of a movie coasting along on Halloween hype-marketing, without providing as many laughs and ideas as it really could have done.
    • 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.

Top Trailers