Peter Bradshaw
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For 367 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 Nothing But a Man (1964)
Lowest review score: 20 Hansel and Gretel: Witch Hunters
Score distribution:
  1. Negative: 28 out of 367
367 movie reviews
    • 66 Metascore
    • 80 Peter Bradshaw
    With a very simple premise, rapper Ice-T – this film's presenter and co-director with Andy Baybutt – has created a very enjoyable and often fascinating movie.
    • 86 Metascore
    • 80 Peter Bradshaw
    Nebraska may not be startlingly new, and sometimes we can see the epiphanies looming up over the distant horizon; the tone is, moreover, lighter and more lenient than in earlier pictures like Sideways. But it is always funny and smart.
    • 90 Metascore
    • 80 Peter Bradshaw
    It is an intriguing confection of a movie, announcing its influences candidly, but exerting its originality too.
    • 75 Metascore
    • 80 Peter Bradshaw
    It's a fascinating story.
    • 77 Metascore
    • 80 Peter Bradshaw
    It's a guilty-pleasure romp of a documentary, filmed at last year's Cannes film festival, all about the gorgeous, deadly and heartbreaking business of cinema itself.
    • 84 Metascore
    • 80 Peter Bradshaw
    An intelligent and resonant work from Norwegian director Joachim Trier, a movie that yields up its meanings and implications slowly.
    • 73 Metascore
    • 80 Peter Bradshaw
    Meadows is clearly not interested in lifting the biographical lid on anyone, just getting alongside the band, and picking up on their energy, vulnerability and excitement. He has no agenda; he just loves the Stone Roses, and it's a great, heartfelt tribute.
    • 77 Metascore
    • 80 Peter Bradshaw
    What a strange and intriguing film.
    • 77 Metascore
    • 80 Peter Bradshaw
    This is a bitter, jagged, disaffected drama, pessimistic about China, pessimistic about the whole world. One characters asks another if he ever feels like travelling abroad. "Why would I?" he replies. "Everywhere is broke. Foreigners come here now." Jia Zhang-ke's movie gives us a brutal unwelcome.
    • 77 Metascore
    • 80 Peter Bradshaw
    Among Jarecki's interviewees is David Simon (author of The Wire) who is incandescent with contempt for the system.
    • 78 Metascore
    • 80 Peter Bradshaw
    The love story – and it can be called that – between the doctor and Melanie is presented with candour and tenderness. There is a new humanity to Seidl's work; it could be his best film so far.
    • 91 Metascore
    • 80 Peter Bradshaw
    Ida
    Every moment of Ida feels intensely personal. It is a small gem, tender and bleak, funny and sad, superbly photographed in luminous monochrome: a sort of neo-new wave movie with something of the classic Polish film school and something of Truffaut, but also deadpan flecks of Béla Tarr and Aki Kaurismäki.
    • 80 Metascore
    • 80 Peter Bradshaw
    [Room 237] raises very interesting ideas about how we view a film, about what happens if we take the act of viewing down to a deeper, molecular level, and about how a movie's significance and effect need not be those intentionally willed by the director.
    • 86 Metascore
    • 80 Peter Bradshaw
    As activist Larry Kramer remarked, the movement had "its good cops and its bad cops", and there is a remarkable, angry, passionate funeral speech from campaigner Bob Rafsky that helped mobilise Act Up and awaken America's conscience.
    • 81 Metascore
    • 80 Peter Bradshaw
    This movie has the same desolate quality as Philip Larkin's poem The Building, and yet it is tender and lovable, too.
    • 88 Metascore
    • 80 Peter Bradshaw
    It's a long movie, and by the end you may well feel every bit as wrung out as the characters. But it is genuinely passionate film-making.
    • 79 Metascore
    • 80 Peter Bradshaw
    Enthralling, mysterious and intimately upsetting – a terrible demonstration of how poverty creates a space which irrational fear must fill.
    • 79 Metascore
    • 80 Peter Bradshaw
    If Assayas's film finally falls just shy of being great art itself, it is at least handsomely staged and played with conviction.
    • 76 Metascore
    • 80 Peter Bradshaw
    It is forthright, powerful, composed and directed with clarity and overwhelming force, yet capable of great subtlety and nuance.
    • 69 Metascore
    • 80 Peter Bradshaw
    In its outrageous way, 21 Jump Street has real laughs.
    • 81 Metascore
    • 80 Peter Bradshaw
    You, the Living is a very funny film - though in the darkest possible way. It is a silent comedy, but with words.
    • 80 Metascore
    • 80 Peter Bradshaw
    What Richard Did is an engrossing and intelligent drama that throbs in the mind for hours after the final credits.
    • 68 Metascore
    • 80 Peter Bradshaw
    Tommy Lee Jones shows some true storytelling grit in this superbly watchable frontier western; he has a muscular and confident command of narrative, driving the plot onward with a real whip-crack, and easily handles the tonal swings between brutal shock, black comedy and sentimentality.
    • 73 Metascore
    • 80 Peter Bradshaw
    Wheatley's new film is grisly and visceral, an occult, monochrome-psychedelic breakdown taking place somewhere in the West Country during the civil war.
    • 80 Metascore
    • 80 Peter Bradshaw
    This beautiful and hypnotic documentary shows the agony and the ecstasy of herding sheep up into Montana's Beartooth mountains for the summer pasture.
    • 55 Metascore
    • 60 Peter Bradshaw
    Kawase's film is sometimes beautiful and moving but I couldn't help occasionally finding it a little contrived and self-conscious.
    • 70 Metascore
    • 60 Peter Bradshaw
    The mystery and beauty of bees emerge strongly enough. But should we be seriously concerned, or not?
    • 63 Metascore
    • 60 Peter Bradshaw
    It may be no more than the sum of its parts, and the slightly soap-operatic finale doesn’t entirely distract your attention from untied plot threads, but there is some great fancy footwork in the narrative and fierce satirical strokes that recall Tom Wolfe.
    • 65 Metascore
    • 60 Peter Bradshaw
    This Faust is part bad dream, part music-less opera: sometimes muted and numb, though with hallucinatory flashes of fear.
    • 44 Metascore
    • 60 Peter Bradshaw
    It runs out of steam in the final 10 minutes, but there's some gruesome drama and Cusack is on decent form.

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