For 99 reviews, this critic has graded:
  • 47% higher than the average critic
  • 6% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
Average review score: 52
Highest review score: 88 Wallace & Gromit in The Curse of the Were-Rabbit
Lowest review score: 0 Another Gay Movie
Score distribution:
  1. Positive: 38 out of 99
  2. Negative: 32 out of 99
99 movie reviews
    • 87 Metascore
    • 88 Peter Debruge
    Herzog himself is one of the great lunatic directors of our century, a mad genius who repeatedly attempts to challenge nature and the gods in his own films.
    • 87 Metascore
    • 88 Peter Debruge
    The magic of the movies is never more evident than with stop-motion animation, and nobody does it better than Wallace and Gromit creator Nick Park.
    • 67 Metascore
    • 88 Peter Debruge
    A wild buckle-up-and-blast-off adventure that plunges every corner of kids' favorite subject.
    • 77 Metascore
    • 88 Peter Debruge
    In a year rich with animation options, Happy Feet stands head and shoulders above its competition.
    • 74 Metascore
    • 88 Peter Debruge
    Virtually everything Americans know about Ellis Island they've learned from the movies, and virtually all those movies were American. Golden Door offers the other side of the story, the one that ends at Ellis Island instead of beginning there.
    • 61 Metascore
    • 88 Peter Debruge
    Broken English takes 30 minutes to do what most romantic comedies manage with a simple montage. That's a good thing, by the way.
    • 61 Metascore
    • 75 Peter Debruge
    If there's one thing missing above all else from today's action movies, it's the lost art of the car chase.
    • 73 Metascore
    • 75 Peter Debruge
    It's like "Lock, Stock" as filtered through the mind of David Mamet, with Craig as the suave middleman holding it all together.
    • 74 Metascore
    • 75 Peter Debruge
    The result is an eye-opening social portrait in the tradition of "Paris Is Burning," the landmark 1990 documentary that introduced drag balls and ''vogueing'' to the mainstream, but it lacks the earlier film's structure and focus.
    • 79 Metascore
    • 75 Peter Debruge
    A haunting, poetic film, and yet it suffers two major failings. First, Murray provides too blank a slate for the audience to appreciate whatever insights a more expressive performance might have offered. Second, and far more troubling, is the way Jarmusch refuses to take his female characters seriously.
    • 45 Metascore
    • 75 Peter Debruge
    Valiant enlists a squad of loveable birdbrains to turn the classic fighter-pilot formula into an upbeat adventure film loaded with laughs.
    • 58 Metascore
    • 75 Peter Debruge
    With its predictable confrontations and tacky fantasy sequences, you feel writer/director Jane Anderson steering the material toward schmaltzy movie-of-the-week territory at every turn.
    • 72 Metascore
    • 75 Peter Debruge
    Kiss Kiss, Bang Bang is a movie obsessed more with the act of telling a story than the story itself, which explains why, when the movie's finally over, less than half the audience will have understood the finer points of the mystery.
    • 58 Metascore
    • 75 Peter Debruge
    The most extreme English-language studio release I've seen in years.
    • 73 Metascore
    • 75 Peter Debruge
    The Proposition leaves you shell-shocked.
    • 67 Metascore
    • 75 Peter Debruge
    Kids will eat it up, while solid voice work from William Shatner and Wanda Sykes should keep this borderline-feral toon from pushing adults over the edge.
    • 68 Metascore
    • 75 Peter Debruge
    Ultimately, what happens with the house is not only entertaining, but a marvel of what animation can accomplish in this day and age.
    • 74 Metascore
    • 75 Peter Debruge
    While you watch, be sure to scour the background for in-jokes, including cameos by Gromit and other DreamWorks characters, and rest assured that Flushed Away gets even funnier on second viewing.
    • 56 Metascore
    • 75 Peter Debruge
    Not since "To Live and Die in L.A" has there been such a raw, cynical vision of living and dying in L.A.
    • 70 Metascore
    • 75 Peter Debruge
    But as Western analogies go, Curse achieves an emotional fervor more in keeping with ancient Greek mythology than Elizabethan theater.
    • 74 Metascore
    • 75 Peter Debruge
    [Csupo's] take on Bridge to Terabithia doesn't pander or misrepresent, but instead illustrates the power of open-mindedness in both its forms: creativity and acceptance.
    • 53 Metascore
    • 75 Peter Debruge
    The movie's politics may miss their mark, but its thrills are dead-on.
    • 59 Metascore
    • 75 Peter Debruge
    On paper, it may sound like high-level calculus, but on screen, The Last Mimzy is perfectly charming. Like "Cocoon" for the elementary-school set, the box transforms Noah and Emma's lives.
    • 64 Metascore
    • 75 Peter Debruge
    Make no mistake, Arctic Tale is a stunning film, full of all the astonishing, even breathtaking nature photography we've come to expect from the folks at National Geographic.
    • 53 Metascore
    • 63 Peter Debruge
    Has all the makings of another "Ice Storm" -- family tension, teen experimentation, friendly neighborhood wife-swapping and a death in the family -- but falls short in its execution.
    • 47 Metascore
    • 63 Peter Debruge
    Smile feels like one man's answer to movies increasingly overloaded with sex and violence.
    • 48 Metascore
    • 63 Peter Debruge
    With material like this, Samuel Fuller or David Lean might have fashioned an epic war movie for the ages, chock-full of hard-boiled characters and against-all-odds heroics. But in John Dahl's hands, The Great Raid never really lives up to its name, delivering everything you might expect from such a movie, but not an ounce more.
    • 56 Metascore
    • 63 Peter Debruge
    Baier's style is almost uncomfortably voyeuristic, amplified by the casting of a young, inexperienced actor (Pierre Chatagny) in a part that calls for hardcore sex.
    • 59 Metascore
    • 63 Peter Debruge
    This is, after all, "Mary Poppins" turned on its head.
    • 58 Metascore
    • 63 Peter Debruge
    Night Watch represents the best in Russian special effects, a collaboration between 42 different CGI specialty firms all working in the service of a single goal: to create the nation's most visually transgressive film.
    • 58 Metascore
    • 63 Peter Debruge
    Features the lamest story of any CG-animated feature to date.
    • 72 Metascore
    • 63 Peter Debruge
    This is neither the noir world of old '40s movies, of which he's clearly fond, nor something new and original enough to fit the concept. Instead, it feels like a blueprint for someone else to figure out.
    • 53 Metascore
    • 63 Peter Debruge
    An unknown commodity to anyone who doesn't follow telenovelas, Becker is sure to be a big star and has already signed on for two sequels. Apart from being scorching hot, he's enormously sympathetic in dramatic scenes.
    • 59 Metascore
    • 63 Peter Debruge
    Writer/director John A. Davis (Jimmy Neutron) is a wizard at transforming the most mundane setting -- the front yard, for crying out loud -- into another world.
    • 56 Metascore
    • 63 Peter Debruge
    True to form, How to Eat Fried Worms forgoes flatulence jokes for positive examples.
    • 58 Metascore
    • 63 Peter Debruge
    What does set Shrek the Third apart is the quality of its animation, which reaches a level of expressiveness in the faces that would make even Hollywood's heavily Botoxed live-action stars envious.
    • 50 Metascore
    • 63 Peter Debruge
    The dynamic between mother and son is fascinating, with Blethyn creating a character who is more antagonist than villain.
    • 36 Metascore
    • 63 Peter Debruge
    Death Sentence would be right at home as one half of "Grindhouse"'s B-movie double bill.
    • 54 Metascore
    • 50 Peter Debruge
    If nothing else, You I Love delivers a brisk and spirited little taste of contemporary Russian culture through the eyes of three spontaneous, unpredictable and oddly charming characters.
    • 56 Metascore
    • 50 Peter Debruge
    The entire movie rides on Paul Kaye's performance.
    • 37 Metascore
    • 50 Peter Debruge
    Basically the first movie all over again, with plenty more of the bridge-jumping, rocket-launching action that audiences loved about the original.
    • 38 Metascore
    • 50 Peter Debruge
    The result is like a low-rent "Wizard of Oz" or "Labyrinth," sticking close to the formula of a kid who falls asleep and wakes up in a fantastical wonderland where everything's just a little bit off.
    • 47 Metascore
    • 50 Peter Debruge
    One of the great pleasures of the original Love Bug comes in watching all the live-action stunts, and CG just isn't the same.
    • 53 Metascore
    • 50 Peter Debruge
    An exercise intended exclusively for fans of the genre, another crude, hard-R bloodbath from the studio that brought you "High Tension" and "Saw."
    • 56 Metascore
    • 50 Peter Debruge
    Like a cross between "Man on Fire" and "Bad Boys 2," this demolition derby delivers eye-popping action sequences that would make even the Roadrunner roll his eyes in disbelief.
    • 47 Metascore
    • 50 Peter Debruge
    As far as titles go, Cote d'Azur doesn't quite cut it for this topsy-turvy French comedy, in which an innocent seaside vacation gets really messy once a family full of busybodies starts poking around in one another's business.
    • 55 Metascore
    • 50 Peter Debruge
    Considering its superlative title (second only to George Stevens's New Testament epic, "The Greatest Story Ever Told"), I'm sorry to report that The Greatest Game Ever Played ranks somewhere in the murky middleground of sports movies.
    • 62 Metascore
    • 50 Peter Debruge
    It's all in the telling, and Loggerheads practically aches with its own heal-the-world earnestness.
    • 60 Metascore
    • 50 Peter Debruge
    It's frustrating to watch Levin try to reason with far-gone street-corner evangelicals (whose arguments are preposterous at best) when he might be building a stronger case by other means.
    • 45 Metascore
    • 50 Peter Debruge
    Unlike this summer's compulsively watchable "Hustle & Flow," Get Rich or Die Tryin' captures none of the thrill of finding your voice, recording a demo or landing a concert.
    • 47 Metascore
    • 50 Peter Debruge
    This is superficial entertainment to say the least. But if you're looking for laughs, then Just Friends is just fine.
    • 38 Metascore
    • 50 Peter Debruge
    The remake seems to have been written and directed by people whose only experience with children is the long-distant memory of having been kids themselves so many years ago.
    • 65 Metascore
    • 50 Peter Debruge
    As long as the movie's set in Mexico City, The Matador is a slick and entertaining black comedy, but the instant Danny heads back to Denver, it comes flying apart at the seams.
    • 45 Metascore
    • 50 Peter Debruge
    Like an early Woody Allen film or a classic Marx brothers feature, more of Hoodwinked's gags flop than hit, but they come at such a steady rate, you hardly notice.
    • 43 Metascore
    • 50 Peter Debruge
    This is precisely the type of moviegoing experience engineered for those who still get a laugh when the Baha Men hit "Who Let the Dogs Out?" accompanies a doggie mayhem montage.
    • 58 Metascore
    • 50 Peter Debruge
    It would seem Towne is too much in love with the book to recognize its fundamental limitations as a film.
    • 48 Metascore
    • 50 Peter Debruge
    The Sentinel isn't nearly as slick as it must have looked on the page. Those zingers are perfect fodder for a movie preview, but they just don't lead anywhere interesting on-screen.
    • 57 Metascore
    • 50 Peter Debruge
    The trouble with Kinky Boots is that director Julian Jarrold doesn't seem to know whether his movie would play better to young hipsters or the blue-haired old lady crowd.
    • 46 Metascore
    • 50 Peter Debruge
    A filmmaker like John Sayles ("Sunshine State") who shares Hiaasen's issue-conscious outlook might have framed the lesson a bit more eloquently. But Shriner blows it.
    • 43 Metascore
    • 50 Peter Debruge
    In a move reminiscent of Gus Van Sant's "Psycho," some shots are lifted directly from the original and much of the screenplay is identical.
    • 70 Metascore
    • 50 Peter Debruge
    The truth is, Jet Li has gotten soft in his old age. While fans of the "Once Upon a Time in China" star will be pleased to learn that at least half of Fearless is action, what they may not realize is just how mushy everything else is.
    • 44 Metascore
    • 50 Peter Debruge
    In post-"Wedding Crashers" Hollywood, the entire exercise feels dated (just as the comedy's PG-13 rating -- this in spite of a recurring rape joke -- makes it feel neutered).
    • 36 Metascore
    • 50 Peter Debruge
    Coolidge knows he's not making "Death of a Salesman" here (he names the store managers Glen Gary and Glen Ross in tribute to David Mamet's elegy to the American Dream), but he's got the same eye for detail that made "Office Space" great. What he lacks is Arthur Miller's (or even Mike Judge's) sense for character.
    • 68 Metascore
    • 50 Peter Debruge
    Whereas E.B. White's beloved novel introduced kids to the cycle of life, tenderly broaching the tricky subject of mortality, this latest movie version plays like just another piece of vegetarian agitprop.
    • 39 Metascore
    • 50 Peter Debruge
    This inventive family movie sets up the most delightful premise, then squanders it on the kind of yawn-inducing CG adventure you might expect from one of those long, plot-heavy cut scenes that slow down video games.
    • 59 Metascore
    • 50 Peter Debruge
    By suggesting that the man's life was as riotously funny as his plays, writer-director Laurent Tirard leaves us wishing he'd opted to do a straightforward adaptation instead.
    • 69 Metascore
    • 50 Peter Debruge
    Almost certain to polarize audiences, this bit of emotional agitprop plays like a watered-down "Short Cuts" or "Magnolia" with a shrill, one-note message: We're all a little bit racist.
    • 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?
    • 30 Metascore
    • 38 Peter Debruge
    The movie is a clumsy and uninspired mess, which is not to say that it's not funny.
    • 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.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 25 Peter Debruge
    Downright awful.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 0 Peter Debruge
    A devastating disappointment. Badly acted, amateurishly directed and woefully unfunny.