Peter Bradshaw

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For 455 reviews, this critic has graded:
  • 40% higher than the average critic
  • 3% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Springtime in a Small Town
Lowest review score: 20 Hansel and Gretel: Witch Hunters
Score distribution:
  1. Negative: 36 out of 455
455 movie reviews
    • 81 Metascore
    • 60 Peter Bradshaw
    Some of the movie doesn't exactly convince, and some of the scenes have an actors-improv feel to them, but there's always plenty of humour and energy.
    • 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.
    • 40 Metascore
    • 60 Peter Bradshaw
    For all the guns and gore, it's as breezy and uncritical as a tale from the True Detective magazine that the cops can't help reading.
    • 55 Metascore
    • 60 Peter Bradshaw
    It's all watchable and pretty funny, and the big setpiece is the three wildly queeny stewards Joserra, Fajas (Carlos Areces) and Ulloa (Arévalo) going into a drug-fuelled song-and-dance routine: a rendering of the Pointer Sisters' I'm So Excited.
    • 78 Metascore
    • 60 Peter Bradshaw
    With a sly dreaminess, Vikander steals the movie from the two males.
    • 67 Metascore
    • 60 Peter Bradshaw
    For all the competence and strength of Trapero's direction, the film is not as powerful as it might have been.
    • 70 Metascore
    • 60 Peter Bradshaw
    The spectacle of highly competent professionals going about their work is always absorbing, and Simons is an interesting man: reticent, calm, shy, intensely focused but apparently never losing control until the end.
    • 57 Metascore
    • 60 Peter Bradshaw
    With playful touches of Spielberg, Shyamalan and even Hitchcock, veteran director Joe Dante has confected a neat little scary movie, not explicitly violent, but pretty scary nonetheless.
    • 71 Metascore
    • 60 Peter Bradshaw
    Marsh's movie is calm, level, downbeat. The tension is subtle – perhaps subtler than it really should be.
    • 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.
    • 71 Metascore
    • 60 Peter Bradshaw
    It's an intriguing and distinctive story, soberly told.
    • 37 Metascore
    • 60 Peter Bradshaw
    Nicolas Cage, Vanessa Hudgens and John Cusack give solid performances in this Prime Suspect-like thriller.
    • 70 Metascore
    • 60 Peter Bradshaw
    This film is justifiably celebratory and respectful, and it reaches out beyond the rock fanbase.
    • 49 Metascore
    • 60 Peter Bradshaw
    It's a straightforward, heartfelt drama, well acted and well produced.
    • 68 Metascore
    • 60 Peter Bradshaw
    Quite a spectacle, and a nice family outing.
    • 55 Metascore
    • 60 Peter Bradshaw
    This really is a reasonably, moderately, whelmingly good film.
    • 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.
    • 74 Metascore
    • 60 Peter Bradshaw
    Garrel struggles to unearth anything new. The mechanics of the relationships on show fail to lead anywhere unexpected while the dialogue is often flat and on-the-nose.
    • 56 Metascore
    • 60 Peter Bradshaw
    It’s a big, ambitious, continent-spanning piece of work, concerned to show the Armenian horror was absorbed into the bloodstream of immigrant-descended population in the United States, but it is a little simplistic emotionally.
    • 54 Metascore
    • 60 Peter Bradshaw
    It’s a little hammy and soapy, with an occasional Pythonesque sense of its own importance but this film, directed by Richard Laxton, is performed with gusto.
    • 69 Metascore
    • 60 Peter Bradshaw
    This is a formal and pedagogic production, but worthwhile nonetheless.
    • 42 Metascore
    • 60 Peter Bradshaw
    This inevitably doesn’t have the charge of the first story, but it is still interestingly weird and dreamlike, and quite disturbing. A commercially driven sequel, sure – but still effective.
    • 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.
    • 69 Metascore
    • 60 Peter Bradshaw
    An irritating, baffling, fascinating film.
    • 39 Metascore
    • 60 Peter Bradshaw
    Subtle it isn't. But the entertainment rev counter more or less keeps turning over.
    • 62 Metascore
    • 60 Peter Bradshaw
    It is up to McConaughey's crooked cop to carry the picture: a sleek, loungingly casual loner whose hunger for violence, like his hunger for fried chicken, is finally and horribly gratified.
    • 77 Metascore
    • 60 Peter Bradshaw
    The most powerful thing about the film is the "audition" scene at the beginning in which the prisoners have to introduce themselves in two ways: sorrowingly, and then angrily. It is a brilliant sequence, and the rest of the film doesn't quite match it.
    • 57 Metascore
    • 60 Peter Bradshaw
    Brosnan brings an intelligence and wit, together with a lightness, to the role - his softly Celtic vowels pleasingly reminiscent of Sean - along with a plausible virility Roger Moore never quite managed. And Pierce wears some beautifully tailored suits as to the manor born.
    • 87 Metascore
    • 60 Peter Bradshaw
    Redford delivers a tour de force performance: holding the screen effortlessly with no acting support whatsoever.
    • 80 Metascore
    • 60 Peter Bradshaw
    It’s an adventure which begins by being bizarre and hilarious but appears to run out of ideas at its mid-way point, and run out of interest in what had at first seemed to be its central comic image: humans turning into animals.

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