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 Foxcatcher
Lowest review score: 20 The Man with the Iron Fists
Score distribution:
  1. Negative: 26 out of 336
336 movie reviews
    • 62 Metascore
    • 60 Peter Bradshaw
    Nothing here to challenge anything from the Pixar golden age, but Despicable Me 2 is a sweet-natured family film.
    • 41 Metascore
    • 60 Peter Bradshaw
    Some nice touches, though it needs to be indulged.
    • 67 Metascore
    • 60 Peter Bradshaw
    Some funny stuff, but a rental/download only.
    • 37 Metascore
    • 60 Peter Bradshaw
    Nicolas Cage, Vanessa Hudgens and John Cusack give solid performances in this Prime Suspect-like thriller.
    • 61 Metascore
    • 60 Peter Bradshaw
    There are plenty of Seidl's signature grotesques, extended uncomfortable scenes and hardcore imagery owing something to Lucian Freud and Diane Arbus. But perhaps for the first time there is also a hint of ordinary human heartbreak.
    • 61 Metascore
    • 60 Peter Bradshaw
    Nothing in the movie matches the fascination of its premise and its opening 10 minutes: the undisturbed status quo is mesmeric. Once the narrative grinds into gear, however, the film's distinctive quality is lost.
    • 44 Metascore
    • 60 Peter Bradshaw
    Hang on for the outtake bloopers over the credits and you'll see Aniston momentarily unsure how to take a joke at her expense.
    • 49 Metascore
    • 60 Peter Bradshaw
    I suspect a previous, wackier idea for the film was ditched in favour of a slick promotional video about their jaw-dropping global tour, but I also have to admit that this is a rather watchable record of a phenomenon.
    • 45 Metascore
    • 60 Peter Bradshaw
    The movie needed some more detachment – and brevity – but Wahlberg shows once again he has the comedy chops.
    • 70 Metascore
    • 60 Peter Bradshaw
    The mystery and beauty of bees emerge strongly enough. But should we be seriously concerned, or not?
    • 60 Metascore
    • 60 Peter Bradshaw
    A watchable and accessible revival, though not groundbreaking, and not quite matching the story's passionate fear and rapture.
    • 69 Metascore
    • 60 Peter Bradshaw
    This is a formal and pedagogic production, but worthwhile nonetheless.
    • 49 Metascore
    • 60 Peter Bradshaw
    There are some dull stretches here, but also some grisly instant hits: nasty, deplorable, vulgar and sometimes brilliant.
    • 65 Metascore
    • 60 Peter Bradshaw
    Saving Mr Banks is an indulgent, overlong picture which is always on the verge of becoming a mess. Thankfully, reliable old Tom Hanks snaps his fingers and – spit, spot – everything more or less gets cleared away.
    • 51 Metascore
    • 60 Peter Bradshaw
    The movie's apocalyptic finale indicates that it's bitten off considerably more than it can chew in terms of ideas, but it looks good, and the story rattles along.
    • 53 Metascore
    • 60 Peter Bradshaw
    It is a strange slo-mo farce, well directed, highly sexualised – shallow, but sleek.
    • 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.
    • 71 Metascore
    • 60 Peter Bradshaw
    It's an intriguing and distinctive story, soberly told.
    • 54 Metascore
    • 60 Peter Bradshaw
    This film certainly chops up a few sacred cows. Could it be that the anti-wind brigade will have to make common cause with climate change scientists?
    • 63 Metascore
    • 60 Peter Bradshaw
    The movie has some real archival value and the simple juxtaposition of Polanski and Stewart – the oddest couple in Cannes, surely – has a surreal impact. But I wonder if there isn't something a little bit placid and self-satisfied about the film, which is paced remarkably slowly, given the subject matter.
    • 66 Metascore
    • 60 Peter Bradshaw
    Lovering coolly sticks to a rule often disregarded by horror movies looking for an instant scare: the weird, tense build-up is just as disturbing as the reveal.
    • 54 Metascore
    • 60 Peter Bradshaw
    At times it looks like a parade of celebs, but the film comes belatedly to the point when it discusses Corbijn's parents, particularly his late father, whose approval Anton sought but perhaps never quite got.
    • 38 Metascore
    • 60 Peter Bradshaw
    Enjoyable, with some funny lines.
    • 76 Metascore
    • 60 Peter Bradshaw
    The movie has rather silly, Bourne-style thriller graphics, which are unnecessary: it has an important story to tell.
    • 79 Metascore
    • 60 Peter Bradshaw
    The story unfolds intriguingly within an intimate, almost claustrophobic environment. There is perhaps something ultimately undeveloped about it, but the film is a well acted, well presented piece of work.
    • 59 Metascore
    • 60 Peter Bradshaw
    It's a headspinningly wacky premise, and it takes a little while for the audience to get up to speed, but once this is achieved, there's an awful lot of unexpected fun to be had, boasting zany adventures with various historical figures.
    • 90 Metascore
    • 60 Peter Bradshaw
    Her
    I wished I liked it more. It is engagingly self-aware and excruciatingly self-conscious, wearing its hipness on its sleeve; it's ingenious and yet remarkably contrived. The film seems very new, but the sentimental ending is as old as the hills. There are some great moments.
    • 39 Metascore
    • 60 Peter Bradshaw
    Subtle it isn't. But the entertainment rev counter more or less keeps turning over.
    • 63 Metascore
    • 60 Peter Bradshaw
    François Ozon's new film is a luxurious fantasy of a young girl's flowering: a very French and very male fantasy, like the pilot episode of the world's classiest soap opera... But this is well-crafted and well-acted.