Peter Debruge
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For 481 reviews, this critic has graded:
  • 56% higher than the average critic
  • 4% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 1 point higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Garden State
Lowest review score: 0 Pretty Persuasion
Score distribution:
  1. Negative: 79 out of 481
481 movie reviews
    • 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.
    • 49 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.
    • 52 Metascore
    • 50 Peter Debruge
    What's missing cast-wise is an appealing personality in the sidekick role, and Webb is no match for Mads Mikkelsen.
    • 50 Metascore
    • 50 Peter Debruge
    Reacher is a brawny action figure whose exploits would have been a good fit for the likes of Arnold Schwarzenegger or Sylvester Stallone back in the day, but feel less fun when delegated to a leading man like Tom Cruise. The star is too charismatic to play someone so cold-blooded, and his fans likely won't appreciate the stretch.
    • 48 Metascore
    • 50 Peter Debruge
    Strong on texture but taxingly light on narrative.
    • 35 Metascore
    • 50 Peter Debruge
    With Identity Thief, Melissa McCarthy proves she's got what it takes to carry a feature, however meager the underlying material.
    • 28 Metascore
    • 50 Peter Debruge
    Willis still packs that rapscallion charm, balancing his wisecracking, reluctant-hero shtick with the unstoppable, all-American quality that earned the original film its title. But the chemistry between him and Courtney is nonexistent, with the younger thesp, who makes co-star Cole Hauser look expressive, adding so little to the equation, one can only hope the studio doesn't plan to pass the franchise on to him.
    • 48 Metascore
    • 50 Peter Debruge
    The comedy feels forced as Fey works overtime to insert unnecessary zingers at the tail of every scene. If the cast weren’t so endearing, her actions could easily sour an audience on the whole experience, and Admission digs itself a hole only an ensemble this appealing can escape.
    • 41 Metascore
    • 50 Peter Debruge
    A North Korean terrorist may be responsible for taking the president hostage, but it’s Bulgarian-made CGI that does the most damage in Antoine Fuqua’s intense, ugly, White-House-under-siege actioner Olympus Has Fallen.
    • 68 Metascore
    • 50 Peter Debruge
    Two half-stories about fathers and sons on opposite sides of the law do not a full movie make in The Place Beyond the Pines, the overlong and under-conceived reunion between “Blue Valentine” director Derek Cianfrance and lookalike star Ryan Gosling.
    • 56 Metascore
    • 50 Peter Debruge
    It’s a vibrant journey, but not a terribly illuminating one.
    • 43 Metascore
    • 50 Peter Debruge
    Violet & Daisy feels radically disconnected from recognizable human behavior.
    • 69 Metascore
    • 50 Peter Debruge
    Though Resnais’ gamble seems to have failed, it’s encouraging to see a director on the brink of 90 still willing to experiment in a way most helmers half his age wouldn’t dare.
    • 44 Metascore
    • 50 Peter Debruge
    More irrelevant than irreverent, the unworthy script from “Bill and Ted’s Excellent Adventure’s” Chris Matheson might play to apocalyptically stoned college kids, but offers nothing in the way of broader social satire, suggesting the waste of a perfectly good Reckoning — not to mention the talents of a cast far funnier than the doom-and-gloom results suggest.

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