Peter Bradshaw

Select another critic »
For 653 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 1 point higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 The Look of Silence
Lowest review score: 20 Take This Waltz
Score distribution:
  1. Negative: 47 out of 653
653 movie reviews
    • 93 Metascore
    • 100 Peter Bradshaw
    I was utterly absorbed by this movie’s simple storytelling verve and the terrific lead performances from Ryan Gosling and Emma Stone who are both excellent – particularly Stone, who has never been better.
    • 71 Metascore
    • 100 Peter Bradshaw
    London Road was a mighty success on stage. Now it is a unique triumph on the movie screen.
    • 82 Metascore
    • 100 Peter Bradshaw
    With his two early features, "Distant" (2002) and "Climates" (2006), Ceylan has showed himself a superb film-maker. This is his greatest so far.
    • 85 Metascore
    • 100 Peter Bradshaw
    This is visionary cinema on an unashamedly huge scale: cinema that's thinking big. Malick makes an awful lot of other film-makers look timid and negligible by comparison.
    • 84 Metascore
    • 100 Peter Bradshaw
    Graduation is an intricate, deeply intelligent film, and a bleak picture of a state of national depression in Romania, where the 90s generation hoped they would have a chance to start again. There are superb performances from Titien and Dragus.
    • 72 Metascore
    • 100 Peter Bradshaw
    This is a jewel of American cinema.
    • 82 Metascore
    • 100 Peter Bradshaw
    This new Star Trek is fast-moving, funny, exciting warp-speed entertainment and, heaven help me, even quite moving - the kind of film that shows that, like it or not, commercial cinema can still deliver a sledgehammer punch.
    • 71 Metascore
    • 100 Peter Bradshaw
    This is terrific film-making – enough to bring a rush of blood to the head.
    • 78 Metascore
    • 100 Peter Bradshaw
    After all those false dawns, non-comebacks and semi-successful Euro jeux d'esprit, Allen has produced an outstanding movie, immensely satisfying and absorbing, and set squarely on American turf: that is, partly in San Francisco and partly in New York.
    • 87 Metascore
    • 100 Peter Bradshaw
    An enormous pleasure. The performances are so fresh and natural – yet so subtle and delicately judged. The direction is superb in its control and the cinematography creates a gripping docu-realist vision.
    • 85 Metascore
    • 100 Peter Bradshaw
    This is an extraordinary record. But be warned. Once seen, these images cannot be unseen.
    • 77 Metascore
    • 100 Peter Bradshaw
    It is actually Assayas’s best film for a long time, and Stewart’s best performance to date.
    • 37 Metascore
    • 100 Peter Bradshaw
    Only God Forgives will, understandably, have people running for the exits, and running for the hills. It is very violent, but Winding Refn's bizarre infernal creation, an entire created world of fear, really is gripping. Every scene, every frame, is executed with pure formal brilliance.
    • 93 Metascore
    • 100 Peter Bradshaw
    It is a brilliant, subversive account of class relations and the changing times.
    • 93 Metascore
    • 100 Peter Bradshaw
    The material is superb, Neil Innes’ music is tremendous and Gilliam’s animations are timelessly brilliant.
    • 85 Metascore
    • 100 Peter Bradshaw
    It is even better than the first film, and has the greatest single final scene in Hollywood history, a real coup de cinéma.
    • 82 Metascore
    • 100 Peter Bradshaw
    It is extremely pleasurable to watch, and shows every sign of having been extremely pleasurable to make.
    • 86 Metascore
    • 100 Peter Bradshaw
    This is a suspense classic that leaves teeth-marks.
    • 87 Metascore
    • 100 Peter Bradshaw
    Fire at Sea is masterly film-making.
    • 89 Metascore
    • 100 Peter Bradshaw
    By any standards, this would be an outstanding film, but for a debut it is remarkable.
    • 90 Metascore
    • 100 Peter Bradshaw
    Hard to Be a God creates its own uncanny world: it is beautiful, brilliant and bizarre.
    • 94 Metascore
    • 100 Peter Bradshaw
    Before Midnight is intimate and intelligent, and also undemanding in the best possible way,
    • 95 Metascore
    • 100 Peter Bradshaw
    It is a creamily sensuous, richly observed piece of work, handsomely detailed and furnished: the clothes, the hair, the automobiles, the train carriages, the record players, the lipstick and the cigarettes are all superbly presented. The combination of all this is intoxicating in itself.
    • 84 Metascore
    • 100 Peter Bradshaw
    Get Out is very creepy, very funny and as pitiless as a surgeon’s scalpel.
    • 83 Metascore
    • 100 Peter Bradshaw
    Mitchell brings off some sensational setpieces of fear and suspense. I can’t remember when I was last so royally freaked out in the cinema.
    • 82 Metascore
    • 100 Peter Bradshaw
    LA film-maker Anna Biller achieves an ecstasy of artificiality in this amazing retro fantasy horror, delivered with absolute conviction.
    • 94 Metascore
    • 100 Peter Bradshaw
    It is not free of plot-holes...but what a supremely stylish and watchable picture it is.
    • 93 Metascore
    • 100 Peter Bradshaw
    The film, with its transcendentally beautiful visuals...is a rich and rewarding experience. [1 Sept. 2011]
    • 86 Metascore
    • 100 Peter Bradshaw
    It is a beautifully acted, exquisitely considered chamber drama of subtlety and nuance: spellbindingly tender and utterly involving

Top Trailers