Peter Debruge

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For 687 reviews, this critic has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 1.4 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Anomalisa
Lowest review score: 0 Pretty Persuasion
Score distribution:
  1. Negative: 85 out of 687
687 movie reviews
    • 66 Metascore
    • 60 Peter Debruge
    In keeping with Gitai’s typically austere oeuvre, it’s a long, slow and sober piece — one could even call it a documentary, despite the fact that actors have been hired to perform deposition scenes derived directly from Shamgar transcripts.
    • 59 Metascore
    • 60 Peter Debruge
    Like too many of Sayles’ films, Go for Sisters seems bound to slip through the cracks, not quite memorable enough to make a lasting impression.
    • 40 Metascore
    • 60 Peter Debruge
    Politics aside, however, the movie delivers on the inspiration of its premise, featuring just the sort of laughs one hopes for.
    • 68 Metascore
    • 60 Peter Debruge
    The Wave sticks mostly to the big-studio formula (albeit on a much smaller budget), introducing a handful of bland soon-to-be-victims before bombarding them with spectacular digital effects.
    • 59 Metascore
    • 60 Peter Debruge
    Beatty tries hard to re-create the look and feel of late-’50s Hollywood as it existed both on-screen and off, aided by DP Caleb Deschanel and terrific costume and set contributions. And yet, it actually comes off too conservative for its own time, with stiff performances from Collins and Ehrenreich.
    • 54 Metascore
    • 60 Peter Debruge
    Having learned a thing or two from Baz Luhrmann, Almereyda substitutes guns for daggers and picks his locations carefully, creating a rich, sultry-looking environment within which to stage the drama.
    • 58 Metascore
    • 60 Peter Debruge
    This more broadly appealing project feels daringly frank on the subject of sex. But as is frequently the case with the most saturnalian comedies, it’s actually quite conservative when it comes to allowing its characters to follow through on their uninhibited talk.
    • 66 Metascore
    • 60 Peter Debruge
    Rather than presenting a nuanced ending that’s open to interpretation, Barrett simply leaves us scratching our heads as to what just happened.
    • 66 Metascore
    • 60 Peter Debruge
    Though Felicioli and Gagnol’s visuals suggest colorful kidlit illustrations come to life, their labor-intensive style isn’t for everyone.
    • 70 Metascore
    • 60 Peter Debruge
    Where the film goes is both unexpected and necessary, since however grounded and relatable these thinly detailed characters might be, the movie doesn’t actually seem to be going anywhere.
    • 58 Metascore
    • 60 Peter Debruge
    Jackson and his team seem compelled to flesh out the world of their earlier trilogy in scenes that would be better left to extended-edition DVDs (or omitted entirely), all but failing to set up a compelling reason for fans to return for the second installment.
    • 81 Metascore
    • 60 Peter Debruge
    Racing Extinction tends to be far more effective when presenting its enlightened activists as heroes.
    • 62 Metascore
    • 60 Peter Debruge
    Rats is that rare breed of nature doc, one designed not to foster greater empathy for a misunderstood species, but rather to exploit our preexisting fears of the filthy critters in question.
    • tbd Metascore
    • 60 Peter Debruge
    What the movie lacks in originality it makes up for in personality, as Kosturos brings the kind of rare alchemy to the role of Ali that makes all present feel as if they’re watching the birth of a movie star.
    • 76 Metascore
    • 60 Peter Debruge
    The conflict at the core of the WikiLeaks saga is dramatically lacking.
    • 62 Metascore
    • 60 Peter Debruge
    Edwards seems to have miscalculated our investment in his cast...simultaneously underestimating how satisfying some good old-fashioned monster-on-MUTO action can be.
    • 57 Metascore
    • 60 Peter Debruge
    The shattering of one’s noble ideals is a delicate thing to capture on film, and White plays the moment of rupture with a banality that threatens to undermine our faith in her as storyteller more than in the system itself.
    • 57 Metascore
    • 60 Peter Debruge
    The idea here isn’t to titillate with tawdry teen hormones, but to offer an outlet for all that mental distress young people take on while trying to find their place in the world.
    • 63 Metascore
    • 60 Peter Debruge
    Though the slow-boil chemistry is there, the script feels flat, content to rely on the surface friction between its lead actors, rather than creating scenes in which we can really get to know the pair’s respective personalities before testing their limits in the field.
    • 49 Metascore
    • 60 Peter Debruge
    Amusing as the Cooties script manages to be, one gets the distinct impression that its authors didn’t bother to visit a school at any point in the research or writing process, missing out on any number of jokes they could have made at public education’s expense.
    • 77 Metascore
    • 60 Peter Debruge
    This reunion between Kristen Stewart and the director who gave her one of her best-ever roles in 2014’s “Clouds of Sils Maria” is a broken, but never boring mix of spine-tingling horror story, dreary workplace drama and elliptical identity search, likely to go down as one of the most divisive films of Stewart’s career.
    • tbd Metascore
    • 60 Peter Debruge
    What the film lacks in originality, it makes up for via its star’s naturally glamor-resistant sensibility, giving us an unpolished glimpse into the personal life of a professional runner.
    • 73 Metascore
    • 60 Peter Debruge
    Clearly, Wheatley is bored with the paint-by-numbers approach of his horror contemporaries, but has swung so far in the opposite direction here, the result feels almost amateurishly avant garde at times, guilty of the sort of indulgences one barely tolerates in student films.
    • 61 Metascore
    • 60 Peter Debruge
    Though relatively conservative in its approach, Lars Kraume’s teleplay-style treatment of a still-touchy subject has the nerve to name names.
    • 43 Metascore
    • 60 Peter Debruge
    A debut effort that occasionally bogs down in its own symbolism.
    • 58 Metascore
    • 60 Peter Debruge
    The script never quite succeeds in making us care about Allan as a character (despite dubbing its quavering narration into English for the ease of American auds), but it finds an interesting balance for a personality who leaves a trail of disaster in his wake.
    • 45 Metascore
    • 60 Peter Debruge
    While Lautner is to be admired for his physical commitment to the role, the below-the-line team lighting, shooting and choreographing his moves deserves equal credit. The film wouldn’t have worked without such a versatile team, which otherwise operates without a trace.
    • 39 Metascore
    • 60 Peter Debruge
    As heroines go, it’s refreshing to get one as complex as this: When psychologically scarred female characters do turn up in thrillers, they’re usually little more than shivering victims who set a group of male cops in motion, but here, Libby does her own detective work, while Hendricks lends star power to the flashback scenes.
    • 60 Metascore
    • 60 Peter Debruge
    Trumbo may be clumsy and overly simplistic at times, but it’s still an important reminder of how democracy can fail (that is, when a fervent majority turns on those with different and potentially threatening values), and the strength of character it takes to fight the system.
    • 55 Metascore
    • 60 Peter Debruge
    More sensitive than sensational, Candler’s debut doesn’t add much in the way of insight to the juvenile delinquency genre, but boasts a stunning breakthrough performance from newcomer Josh Wiggins as the troublemaker in question.

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