Peter Bradshaw
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For 336 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 Blancanieves
Lowest review score: 20 Laurence Anyways
Score distribution:
  1. Negative: 26 out of 336
336 movie reviews
    • 35 Metascore
    • 40 Peter Bradshaw
    It's competently made, but pointless.
    • 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.
    • 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.
    • 57 Metascore
    • 40 Peter Bradshaw
    You'll need to have a very sweet tooth for this, and it makes light of those difficult sexual politics that Mad Men attacked with such fierce satire.
    • 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.
    • 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.
    • 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.
    • 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).
    • 49 Metascore
    • 40 Peter Bradshaw
    The results are by turns boring and bizarre, although Diesel still has some presence.
    • 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.
    • 82 Metascore
    • 40 Peter Bradshaw
    There's a too-cute-to-be-true ending to this US indie movie by the much-acclaimed young director Destin Cretton; I couldn't buy it, and found myself wondering if I had kept the receipt for the rest of the film too.
    • 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.
    • 76 Metascore
    • 40 Peter Bradshaw
    The Immigrant is certainly different: but Gray seems to run out of ideas and the film is shapeless and unsatisfying.
    • 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.
    • 36 Metascore
    • 40 Peter Bradshaw
    In the main, it's the usual story – much more rom than com.
    • 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.
    • 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.
    • 41 Metascore
    • 40 Peter Bradshaw
    It has a sort of soapy reliability, but compare it to the blazing passion of Baz Luhrmann's modern-day version with Leonardo DiCaprio and Claire Danesin gangland LA and it looks pretty feeble. Plus, the liberties taken with the text mean that it might not even be all that suitable for school parties.
    • 55 Metascore
    • 40 Peter Bradshaw
    Everyone is trying way too hard and Dom's final speech is toe-curlingly misjudged and charmless.
    • 39 Metascore
    • 40 Peter Bradshaw
    It's quite a sweet idea, with a liberal attempt at balance, though Palestinian audiences may query the idea of making their half of this equation a child, and Fahed's motivation for defying his elders in quite so disloyal and dangerous a way, is never convincingly explained.
    • 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.
    • 40 Metascore
    • 40 Peter Bradshaw
    It's a road movie that runs out of road – and out of ideas.
    • 42 Metascore
    • 40 Peter Bradshaw
    Frankly, the performances and line-readings are uneven. The couple's journey through night-time London is interesting: both have a painful past that they are at first reluctant to discuss, especially Maya, but these disclosures are not dramatically developed in any really satisfying way.
    • 52 Metascore
    • 40 Peter Bradshaw
    This comedy never quite relaxes or convinces or comes together, despite a blue-chip pedigree and a great cast.
    • 39 Metascore
    • 40 Peter Bradshaw
    Looks dated and clunky, like a drawn-out episode of Roald Dahl's Tales of the Unexpected on TV, and the direction doesn't have Softley's usual drive.
    • 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.
    • 35 Metascore
    • 40 Peter Bradshaw
    It is colossally indulgent, shapeless, often fantastically and unthinkingly offensive and at all times insufferably conceited. Yet it is frustrating precisely because it sometimes isn't so bad. There is something in there somewhere - striking images and moments, and the crazy energy of a folie de grandeur.
    • 54 Metascore
    • 40 Peter Bradshaw
    Bogdanovich is a formidable figure, but with this movie he’s just coasting. He surely needs to find a screenplay more attuned to his brilliance, rather than a derivative, low-octane comedy.
    • 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.