Peter Bradshaw

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For 686 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 0.9 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Casablanca
Lowest review score: 20 The Captive
Score distribution:
  1. Negative: 50 out of 686
686 movie reviews
    • 65 Metascore
    • 80 Peter Bradshaw
    It’s a film to remind you of the almost miraculously collaborative nature of cinema, but also the radiant personalities of individuals.
    • 48 Metascore
    • 80 Peter Bradshaw
    Xavier Dolan’s It’s Only the End of the World is histrionic and claustrophobic: deliberately oppressive and pretty well pop-eyed in its madness – and yet a brilliant, stylised and hallucinatory evocation of family dysfunction.
    • 68 Metascore
    • 80 Peter Bradshaw
    It is all intensely controlled, although this is a drama that goes by the book, in all senses; there are no unabsorbed events to disorder the parable’s secular/religious alignment, and the Greeneian miracle it eventually conjures is arguably a little too pat. Yet it is also strangely moving.
    • 67 Metascore
    • 80 Peter Bradshaw
    Kazan brings to the role a sweet and dignified vulnerability, keeping rigorously to plausible human behaviour.
    • 71 Metascore
    • 80 Peter Bradshaw
    Richness, warmth and tenderness pulse from this lovely documentary.
    • 77 Metascore
    • 80 Peter Bradshaw
    The heart of the movie is the unexpectedly poignant relationship between Xavier and Logan: I’d be tempted to call them the Steptoe and Son of the mutant world, although in fact Logan goes into Basil Fawlty mode at one stage with his own pickup truck, attempting to trash it – perhaps to teach it a lesson. Logan is a forthright, muscular movie which preserves the X-Men’s strange, exotic idealism.
    • 70 Metascore
    • 80 Peter Bradshaw
    A very valuable film.
    • 80 Metascore
    • 80 Peter Bradshaw
    A toxic cloud of anger, suspicion and sadness hangs over this documentary.
    • 77 Metascore
    • 80 Peter Bradshaw
    It is such a beguiling performance from Richard, natural, unaffected, unselfconscious, you find herself rooting for Ana, although what form success might take for her is a mystery. Very impressive work from Lang.
    • 88 Metascore
    • 80 Peter Bradshaw
    It’s a richly detailed character study, immersing the audience in the life and mind of its imperious main character.
    • 73 Metascore
    • 80 Peter Bradshaw
    Some critics have expressed reservations about melodrama and overworked symbolism, but I found it gripping, with an edge of delirium.
    • 85 Metascore
    • 80 Peter Bradshaw
    There’s real energy.
    • 60 Metascore
    • 80 Peter Bradshaw
    The stunts are still awe-inspiring, and there's plenty of laughs. They really were thinking big.
    • 82 Metascore
    • 80 Peter Bradshaw
    Rachel Weisz performs with enormous intelligence and restraint.
    • 77 Metascore
    • 80 Peter Bradshaw
    A terrifically enjoyable piece of old-fashioned storytelling and a beautiful-looking film: spectacular, exciting, funny and fun.
    • 79 Metascore
    • 80 Peter Bradshaw
    Émilie Dequenne is the young actor who made a powerful debut in the Dardenne brothers' prize-winning film "Rosetta" in 1999, and what a superb performance she gives now in this inexpressibly painful drama.
    • 69 Metascore
    • 80 Peter Bradshaw
    This documentary is an invigorating, disturbing portrait of the arrogance and sinister self-importance of rich people, bullying politicians and their battalions of lawyers.
    • 80 Metascore
    • 80 Peter Bradshaw
    The movie is a distillation of the assassin’s life of watchfulness, survival and fear. At other times, it has a dreamlike quality: a floating hallucination. The Assassin baffles, but more often it quietly captivates and astonishes.
    • 86 Metascore
    • 80 Peter Bradshaw
    This is a movie using non-professionals playing versions of themselves, and under Zhao’s patient, unintrusive directorial eye they appear to be inhabiting a kind of heightened documentary.
    • 58 Metascore
    • 80 Peter Bradshaw
    It’s silly and poignant and funny.
    • 76 Metascore
    • 80 Peter Bradshaw
    This is grownup film-making, more savoury than sweet, seductive, oblique and carried by a wonderfully smart and emotionally generous performance from Juliette Binoche – who delivers the material superbly, material which from almost anyone else would sound dyspeptic or absurd.
    • 86 Metascore
    • 80 Peter Bradshaw
    This is a sombre, grieving movie which appears to gesture to the ghost-town ruin that is still in Detroit’s future.
    • 73 Metascore
    • 80 Peter Bradshaw
    [A] terrifically stylish work.
    • 54 Metascore
    • 80 Peter Bradshaw
    It’s impossible not to enjoy this big-hearted and sweet-natured British family movie.
    • 74 Metascore
    • 80 Peter Bradshaw
    This movie really brings some gobsmackingly weird and outrageous spectacle, with moments of pure showstopping freakiness. Eventually it loses a bit of focus and misses some narrative targets which have been sacrificed to those admittedly extraordinary set pieces.
    • 65 Metascore
    • 80 Peter Bradshaw
    Deadpool is neurotic and needy – and very entertaining. An innocent pleasure.
    • 81 Metascore
    • 80 Peter Bradshaw
    Arrival is a big, risky, showy movie which jumps up on its high-concept highwire and disdains a net. And yes, there are moments of silliness when it wobbles a little, but it provides you with spectacle and fervent romance.
    • 81 Metascore
    • 80 Peter Bradshaw
    It is invigoratingly freaky and strange, with a Death-Valley-dry sense of humour somewhere underneath — though a little derivative sometimes. More than once, Carruth gives us a close-up on a hand ruminatively stroking a surface: very Malick. And the shots of creepy creatures swarming under the skin are very Cronenberg.
    • 78 Metascore
    • 80 Peter Bradshaw
    The story is told with stark and fierce plainness: unadorned, unapologetic, even unevolved. Loach’s movie offends against the tacitly accepted rules of sophisticated good taste: subtlety, irony and indirection.
    • 86 Metascore
    • 80 Peter Bradshaw
    It is an eccentric and entertaining movie soap-opera.

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