Peter Debruge
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For 412 reviews, this critic has graded:
  • 57% higher than the average critic
  • 4% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Dallas Buyers Club
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
  1. Negative: 75 out of 412
412 movie reviews
    • 32 Metascore
    • 38 Peter Debruge
    A relatively harmless (and thankfully, not entirely laughless) trifle.
    • 31 Metascore
    • 38 Peter Debruge
    What's missing is some faith in the audience's intelligence and, more importantly, the jokes.
    • 26 Metascore
    • 38 Peter Debruge
    For anyone who digs hardcore motorcycle racing, Supercross delivers enough engine-revving, dirt-spewing motorcross action to satisfy even the most intense adrenaline craving.
    • 30 Metascore
    • 38 Peter Debruge
    Have you ever noticed how it's always the worst horror movies that go really far out of their way to lay the groundwork for a sequel?
    • 51 Metascore
    • 38 Peter Debruge
    As coincidence would have it, Steve Carell's "The 40-Year-Old Virgin" spun comedy gold from a similar idea just last week. Virgin shares not only The Baxter's basic premise, but also two of its key cast members (Paul Rudd and the beautiful Ms. Banks), allowing audiences to see just how much better The Baxter might have been if Showalter had given us some reason to identify with his socially awkward protagonist.
    • 30 Metascore
    • 38 Peter Debruge
    The movie is a clumsy and uninspired mess, which is not to say that it's not funny.
    • 36 Metascore
    • 38 Peter Debruge
    I suspect Scott sees Domino as the ultimate provocation, his way of grabbing Hollywood by the throat and shouting, "You want reality??! I'll give you REALITY!!!" Sort of.
    • 40 Metascore
    • 38 Peter Debruge
    The explanation for all this mayhem eludes me, and even a lame last-minute twist isn't enough to cover the fact that Jigsaw ain't as clever as the movie thinks he is.
    • 48 Metascore
    • 38 Peter Debruge
    Kids will love it. It feels fresh and original and mildly subversive, but it's all a cover for the filmmakers not having the patience or confidence to put together a real story with a beginning, middle and end.
    • 75 Metascore
    • 38 Peter Debruge
    The movie is a leaden, slow-moving beast.
    • 46 Metascore
    • 38 Peter Debruge
    Instead of watching a professional actor pretending to be intellectually disabled, we're watching a jackass pretending to be a dimwit pretending to be intellectually disabled.
    • 40 Metascore
    • 38 Peter Debruge
    Amounts to Chicken Soup for the Soul-style torture -- unless you like that kind of thing.
    • 37 Metascore
    • 38 Peter Debruge
    Something about the sequel, Garfield: A Tail of Two Kitties, doesn't seem nearly as obnoxious as the original.
    • 37 Metascore
    • 38 Peter Debruge
    With an exciting way out, the audience would have gladly overlooked all the loose ends from earlier in the movie. But the way Hall plays it, he undermines the early style and intelligence of his all-black action movie, taking audiences for the wrong kind of ride in the end.
    • 52 Metascore
    • 38 Peter Debruge
    The movie is basically a love story between a man and his elephant, and if viewed as such, it's not nearly as ridiculous as the movie it first appears to be.
    • 37 Metascore
    • 38 Peter Debruge
    Flowers' ''style'' suffers from attention deficit disorder, leaving just enough vital information for you to follow the convoluted plot. But just when one story gets rolling, he's off and chasing another.
    • 49 Metascore
    • 38 Peter Debruge
    For an inaugural effort, Open Season ain't bad, but the studio shows far more promise with its gee-whiz visuals than it does in the story department.
    • 35 Metascore
    • 38 Peter Debruge
    The movie itself frustrates by guarding the secret of Walsch's newfound spirituality.
    • 28 Metascore
    • 38 Peter Debruge
    Unfortunately, this dimwit concept barely has enough spark to power a single strand of Christmas lights, much less rival the classic-by-comparison "National Lampoon's Christmas Vacation" in side-splitting Yuletide snafus.
    • 31 Metascore
    • 38 Peter Debruge
    For all of 10 minutes, Gray Matters looks like it might have accomplished the impossible: uncovering a romantic-comedy scenario audiences haven't seen a million times before.
    • 61 Metascore
    • 38 Peter Debruge
    The characters, starting with Lewis himself, are downright obnoxious. Not counting those singing frogs or the time-traveling T. rex (with its big head and little arms), only Lewis' sad-sack roommate ''Goob'' is remotely sympathetic.
    • 70 Metascore
    • 38 Peter Debruge
    In Year of the Dog, director Mike White willfully violates one of the great unwritten rules of Hollywood screenwriting: Kill as many human characters as you want, just spare the dog.
    • 59 Metascore
    • 38 Peter Debruge
    Like Russia's answer to "The Matrix" and "Lord of the Ring"s trilogies, Day Watch offers the second chapter in an epic battle between the forces of Light and Dark, the result of which is a gaping gray area where nothing much makes sense.
    • 44 Metascore
    • 38 Peter Debruge
    If "Casino Royale" and "The Bourne Ultimatum" represent the new breed of 21st century action, then Rush Hour 3 is Stone Age stuff. The movie aims for irreverent, but delivers irrelevant instead. Let's hope the Rush Hour series stalls here.
    • 61 Metascore
    • 38 Peter Debruge
    There's nothing so artistic about it as to attract the same art-house crowd that braved subtitles to discover "Nine Queens," and yet, it's professional enough that Spanish speakers will be glad to have a heist movie on par with "Rush Hour 3" or "The Pacifier" made in their native tongue.
    • 21 Metascore
    • 38 Peter Debruge
    With its ho-hum hero and lackluster love story, The Order would likely be one big implausible bore if it wasn't for production designer Miljen Kreka Kljakovic.
    • 43 Metascore
    • 38 Peter Debruge
    Each segment introduces new characters and a radically different scenario, which suggests that Hancock's structure may actually be an insecure attempt to deliver a horror movie.
    • 48 Metascore
    • 38 Peter Debruge
    When confronted with real problems--and there's enough melodrama here to top a movie-of-the-week marathon on Lifetime--these otherwise empowered characters seem helpless to defend themselves.
    • 29 Metascore
    • 38 Peter Debruge
    There's no question that Civil Brand has an ambitious premise, but it feels boxed in by the standard prison-movie formula.
    • 30 Metascore
    • 38 Peter Debruge
    Despite its preposterous leaps of logic, it somehow still emerges a reasonably entertaining summer blockbuster.
    • 31 Metascore
    • 38 Peter Debruge
    Zombie's film plays more like an experimental pastiche than an outright homage to those classic road-trip-gone-wrong movies.
    • 65 Metascore
    • 38 Peter Debruge
    At best, this movie functions as a brief companion piece to Boy George's new Broadway show, “Taboo.”
    • 47 Metascore
    • 38 Peter Debruge
    The studio wimped out, and the result is a lesser production on every level: talent, script, content, and purpose.
    • 61 Metascore
    • 38 Peter Debruge
    Director Brad Anderson (Session 9) overtly cribs from everyone from Dostoevsky to Kafka.
    • 39 Metascore
    • 38 Peter Debruge
    An ambitious disaster, Alexander is the rare historical portrait that leaves you feeling as though you know less about its subject than you did upon entering the theater.
    • 46 Metascore
    • 38 Peter Debruge
    Kevin Spacey is a darn good actor, and he's a pretty good singer to boot. But those traits alone do not excuse the painful experience to be had sitting through Beyond the Sea.
    • 42 Metascore
    • 38 Peter Debruge
    Close is the best and worst thing about the film, delivering a performance that upstages even Christopher Walken (!), taking her over-the-top Cruella de Vil turn to its saccharine-sweet opposite.
    • 37 Metascore
    • 38 Peter Debruge
    Absence of motive makes the movie provocative; the explanation renders it irrelevant and defuses any interesting debate the film might have inspired.
    • 38 Metascore
    • 38 Peter Debruge
    In the age of reality television, Paparazzi feels desperately out-of-touch, the jaded grousings of an industry burnout.
    • 43 Metascore
    • 38 Peter Debruge
    Threadbare sequel.
    • 44 Metascore
    • 38 Peter Debruge
    Amounts to little more than a downbeat soap opera as half a dozen squatters -- hustler, junkie, stripper, queer, fallen Madonna and skank, with a mentally challenged roomie thrown in for good measure -- try to hold their lives together in a grungy New York loft just days before Christmas. Think "Rent" without the music.
    • 48 Metascore
    • 30 Peter Debruge
    The script is nearly all dialogue, including several eloquent spoken passages toward the end, but it’s a lousy story, ineptly constructed and rendered far too difficult to follow.
    • 34 Metascore
    • 30 Peter Debruge
    Chemistry you can fake, but charm is far harder to pull off, and Baggage Claim never quite succeeds on that front.
    • 37 Metascore
    • 30 Peter Debruge
    The wallpaper emotes more than Ryan Gosling does in Only God Forgives, an exercise in supreme style and minimal substance.
    • 35 Metascore
    • 30 Peter Debruge
    Even the hackiest of Hollywood writers would have known how to fix its considerable script problems.
    • 34 Metascore
    • 30 Peter Debruge
    Lambert brings a forlorn dimension to his seductive young role, but Bell never really convinces as the older woman. Despite flirting with controversy, the actress seems reluctant to plunge fully into potential unlikability, nor does the film quite give her the chance.
    • 51 Metascore
    • 30 Peter Debruge
    Granted, Landesman feels an obligation to history, but there’s something ponderously obvious about the way so many of these scenes are played.
    • 38 Metascore
    • 30 Peter Debruge
    Fancy-sounding dialogue and handsome widescreen lensing goes only so far to disguise the shallowness of the underlying material.
    • 35 Metascore
    • 30 Peter Debruge
    This been-there-done-that story marks a pretty banal debut for writer-director Alain Marie, who seems far more interested in aping Refn and early-career Michael Mann than in finding his own style.
    • 21 Metascore
    • 30 Peter Debruge
    Though much of the script borders on unbearable, compounded by “Juno” composer Mateo Messina’s tell-you-how-to-feel score, writer Daniel Taplitz manages to sneak in some poignant self-help aphorisms here and there.
    • 19 Metascore
    • 30 Peter Debruge
    At the very least, Kite could have given Jackson some scenery to chew.
    • 36 Metascore
    • 25 Peter Debruge
    Downright awful.
    • 30 Metascore
    • 25 Peter Debruge
    Diesel valiantly but unsuccessfully tries to raise this inane bit of Mr. Mommery above its afternoon-special standing.
    • 44 Metascore
    • 25 Peter Debruge
    For a horror movie to work, it has to be ABOUT something.
    • 35 Metascore
    • 25 Peter Debruge
    Stealth is basically the kind of movie a 13-year-old boy given an infinite budget and creative freedom might cook up between Xbox games.
    • 40 Metascore
    • 25 Peter Debruge
    Swedish director Mikael Håfström's Derailed makes "Fatal Attraction" look positively subtle, while mustering none of the nuance or moral complexity (not to mention the sexual chemistry) of "Unfaithful."
    • 44 Metascore
    • 25 Peter Debruge
    What is most beguiling about The Libertine is that it allows Wilmot to self-destruct without ever giving us cause to care or relate.
    • 47 Metascore
    • 25 Peter Debruge
    Janeane Garofalo is all wrong as the giraffe, whom the animators contort into all manner of weird positions so she can share the frame with pint-size love interest Benny the squirrel (Jim Belushi).
    • 42 Metascore
    • 25 Peter Debruge
    Loud, sophomoric and stunningly crude.
    • 46 Metascore
    • 25 Peter Debruge
    Sober, this kind of material is an acquired taste at best and downright unbearable in stretches. And yet, the movie has the makings of an instant cult classic, sure to grow funnier among its devoted fans with each successive viewing.
    • 45 Metascore
    • 25 Peter Debruge
    The hyper-stylized violence, for instance, isn't nearly as senseless as the narrative bits in between. And the ''twist'' employs the same sleight-of-hand as "The Usual Suspects."
    • 40 Metascore
    • 25 Peter Debruge
    Illegal Tender is the sort of crime movie in which nothing, not one detail, has been observed from real life; it's composed entirely of fantasies and falsehoods lifted from bad movies and hip-hop videos.
    • 27 Metascore
    • 25 Peter Debruge
    Berry is giving a performance much too earnest to have been intentionally campy, setting herself up as a veritable shoo-in for this year's "Worst Actress" Razzie. Me-ouch!
    • 22 Metascore
    • 25 Peter Debruge
    Kranks is the type of grim holiday movie that reminds you of all that is noxious and insincere about the Christmas season and then chases it down with a sickly-sweet reversal
    • 44 Metascore
    • 25 Peter Debruge
    Movies in which the same person serves as writer, director, and star should carry a special warning for audiences, even if that individual happens to be an actor as endearing as Luke Wilson.
    • 30 Metascore
    • 20 Peter Debruge
    The cross-dressing "Madea" star seems out of his depth playing the hard-boiled detective made famous by Morgan Freeman in "Along Came a Spider" and "Kiss the Girls." Even action helmer Rob Cohen ("The Fast and the Furious," "XXX") seems to be off his game here.
    • 39 Metascore
    • 20 Peter Debruge
    As Scandi directors go, Niels Arden Oplev couldn’t be hotter. After putting his stamp on “The Girl With the Dragon Tattoo,” the Dane has what appears to be his pick of projects. So why follow it up with such revenge-fantasy dreck as Dead Man Down, a derivative collection of brazen plot holes and latenight-cable cliches into which he drags “Dragon” star Noomi Rapace?
    • 58 Metascore
    • 20 Peter Debruge
    If nonchalance were an Olympic sport, Max would be a gold medalist, and watching Somebody Up There Likes Me is about as much fun as being a spectator at that event might sound.
    • 60 Metascore
    • 20 Peter Debruge
    This sloppy, button-pushing black comedy reveals a crew desperately in need of counseling — less in anger management than in the fundamentals of screenwriting, camerawork and structure.
    • 47 Metascore
    • 20 Peter Debruge
    A partly authentic, partly scripted behind-the-scenes featurette that never quite conveys the star’s “high/curious” interest in all things taboo.
    • 34 Metascore
    • 20 Peter Debruge
    It’s worse than tacky, trivializing depression for a handful of easy laughs and pop-psychology platitudes.
    • 23 Metascore
    • 0 Peter Debruge
    The way I see it, anyone who's made up his mind to see Deuce Bigalow: European Gigolo deserves everything they've got coming to them, and with any luck, they might even enjoy the movie's willfully offensive gutter humor.
    • 45 Metascore
    • 0 Peter Debruge
    There's enough estrogen gone awry in this bitchy teen comedy to make "Mean Girls" look like a Disney after-school special.
    • 37 Metascore
    • 0 Peter Debruge
    A devastating disappointment. Badly acted, amateurishly directed and woefully unfunny.