Peter Debruge
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For 475 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 1.1 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Me and You and Everyone We Know
Lowest review score: 0 Another Gay Movie
Score distribution:
  1. Negative: 79 out of 475
475 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 38 Peter Debruge
    Director Brad Anderson (Session 9) overtly cribs from everyone from Dostoevsky to Kafka.
    • 35 Metascore
    • 38 Peter Debruge
    The movie itself frustrates by guarding the secret of Walsch's newfound spirituality.
    • 65 Metascore
    • 38 Peter Debruge
    At best, this movie functions as a brief companion piece to Boy George's new Broadway show, “Taboo.”
    • 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.
    • 38 Metascore
    • 38 Peter Debruge
    In the age of reality television, Paparazzi feels desperately out-of-touch, the jaded grousings of an industry burnout.
    • 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.
    • 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.
    • 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.
    • 30 Metascore
    • 38 Peter Debruge
    The movie is a clumsy and uninspired mess, which is not to say that it's not funny.
    • 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.
    • 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
    Despite its preposterous leaps of logic, it somehow still emerges a reasonably entertaining summer blockbuster.
    • 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.
    • 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.
    • 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.
    • 19 Metascore
    • 30 Peter Debruge
    At the very least, Kite could have given Jackson some scenery to chew.
    • 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.
    • 51 Metascore
    • 30 Peter Debruge
    21 Years: Richard Linklater makes for a disappointingly hollow hagiography: gushy, superficial and strangely overdue — arriving significantly later than its title prescribes.
    • 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.
    • 35 Metascore
    • 30 Peter Debruge
    Even the hackiest of Hollywood writers would have known how to fix its considerable script problems.
    • 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.
    • 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.
    • 51 Metascore
    • 30 Peter Debruge
    This is manufactured sentiment, less interested in provoking thought than in manipulating emotion, constructed of human obstacles overcome, stirring speeches delivered and heart-rending flashbacks unveiled, all suspended like so much Spam in the jelly of its own score.
    • 50 Metascore
    • 30 Peter Debruge
    Though billed as a documentary, this 59-minute doodle barely rises above homemovie status.

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