Peter Bradshaw

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For 668 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 0.8 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Archipelago
Lowest review score: 20 The Internship
Score distribution:
  1. Negative: 49 out of 668
668 movie reviews
    • 78 Metascore
    • 80 Peter Bradshaw
    In the Fog is an intense, slow-burning and haunting drama.
    • 91 Metascore
    • 80 Peter Bradshaw
    Taxi grew on me. It is not as angry and painful as his previous work, the samizdat This Is Not a Film, but it is subtle, humorous and humane. It tells you more about modern Iran, I think, than you’ll discover on the news.
    • 78 Metascore
    • 80 Peter Bradshaw
    It's a gem: gentle, eccentric, possessed of a distinctive sort of innocence – and also charming and funny.
    • 70 Metascore
    • 80 Peter Bradshaw
    [Black] creates some outrageously contrived and protracted shootouts and one or two good old fashioned action explosions. But he also keeps the dialogue cracking along.
    • 87 Metascore
    • 80 Peter Bradshaw
    About Elly confirms Farhadi's shrewd judgment of pace, dramatic technique and formal control of an ensemble cast.
    • 76 Metascore
    • 80 Peter Bradshaw
    The endlessly prolific Takashi Miike returns with this superbly acted revenger's tragedy.
    • 75 Metascore
    • 80 Peter Bradshaw
    The film is quiet, understated and gentle, allowing the audience to take pleasure in teasing out its narrative subtleties, and presented with wonderful freshness and clarity.
    • 87 Metascore
    • 80 Peter Bradshaw
    It is such a strange film in its way, stranger still if you are not accustomed to Weerasethakul’s work, and it needs a real investment of attention. But there is something sublime in it.
    • 77 Metascore
    • 80 Peter Bradshaw
    Zero Days is an intriguing, disturbing watch.
    • 59 Metascore
    • 80 Peter Bradshaw
    A terrifically enjoyable and exciting summer spectacular: savvy, funny, ridiculous in just the right way, with some smart imaginative twists.
    • 77 Metascore
    • 80 Peter Bradshaw
    Calin Peter Netzer's Child's Pose is a gripping new drama from Romania and another demonstration of how that country's new wave is developing a distinctive kind of real-time slice-of-life cinema with characterisation in extreme, pitiless closeup.
    • 80 Metascore
    • 80 Peter Bradshaw
    The physical suspense is all but unbearable: a sexualised hunger, fear and need. Fingleton writes and directs with gusto and flair.
    • 80 Metascore
    • 80 Peter Bradshaw
    White God works as an ambiguous satire of power relations generally: eventually the lower orders will rise up. The film has a flair and a bite which I have found lacking in Mundruczó's earlier films.
    • 66 Metascore
    • 80 Peter Bradshaw
    The film is a bit stagey sometimes, but ambitious and insightful. Tovey is excellent as he shows someone progressing from innocence to fear and then to loneliness.
    • 83 Metascore
    • 80 Peter Bradshaw
    Gloria is a sad, painful romantic story.
    • 76 Metascore
    • 80 Peter Bradshaw
    Into the Inferno is an intriguing, unnerving documentary.
    • 80 Metascore
    • 80 Peter Bradshaw
    A gripping documentary.
    • 73 Metascore
    • 80 Peter Bradshaw
    Perhaps no film can entirely compete with the simple fact of this novel/museum’s existence, but the movie circles around the dual conceptual artefact beguilingly.
    • 86 Metascore
    • 80 Peter Bradshaw
    Beasts of the Southern Wild is a vividly poetic and maybe even therapeutic response to one of the most painful and mortifying episodes in modern American history, second only to 9/11.
    • 70 Metascore
    • 80 Peter Bradshaw
    Mia Madre is a tremendously smart and enjoyable movie.
    • 87 Metascore
    • 80 Peter Bradshaw
    The film is unafraid of emotion, unafraid of plunging into basic human ideas: the need for trust, and the search for love.
    • 56 Metascore
    • 80 Peter Bradshaw
    We call our House of Commons proceedings Punch and Judy: but the climate-change deniers on Fox News are Punch on steroids. It's a chilling and depressing picture.
    • 63 Metascore
    • 80 Peter Bradshaw
    The Ones Below is an intimately disturbing nightmare of the upper middle classes, with tinges of melodrama and staginess, entirely appropriate for its air of suppressed psychosis.
    • 83 Metascore
    • 80 Peter Bradshaw
    This a quasi-war movie set in peacetime; these men are fighting to the death, but not for nation or principle or ideology — or at least, not a conscious ideology: they are caught in larger economic currents.
    • 67 Metascore
    • 80 Peter Bradshaw
    The psychological thriller form has imposed on Dolan some discipline, and brought out his talent and energy.
    • 65 Metascore
    • 80 Peter Bradshaw
    Maybe any biopic risks naïveté in suggesting the agony of postwar Africa can be soothed by a love story about a handsome prince. But this movie has candour, heartfelt self-belief, and an unfashionable conviction that love conquers all - though not immediately.
    • 61 Metascore
    • 80 Peter Bradshaw
    There is something interestingly non-argumentative and personal about this documentary. It is gentle and reflective, a paean to his own youth and idealism that have been preserved in the ice.
    • 87 Metascore
    • 80 Peter Bradshaw
    Without Ronan’s performance, Brooklyn might have left a sugary taste. But she is the ingredient that brings everything together: her calm poise anchors almost every scene and every shot.
    • 71 Metascore
    • 80 Peter Bradshaw
    There is a lot of sound and fury in this Macbeth, but not without meaning. It’s not perhaps a very subtle version, and I felt that Kurzel should have perhaps worked more closely with Fassbender with the contours of his speeches, and shown the painful mind-changing and nerve-losing in the early stages. There is an operatic verve.
    • 60 Metascore
    • 80 Peter Bradshaw
    The Light Between Oceans isn’t subtle – that swoony title should tip you off – and it’s a fair way from the realist grit of the less obviously commercial pictures Cianfrance has made previously. There’s more corn in the recipe here, a bit more ham and cheese. But he carries it off with forthright defiance and with strong, heartfelt, ingenuous performances from Alicia Vikander and Michael Fassbender.

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