Peter Debruge

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For 584 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% 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: 62
Highest review score: 100 Brothers
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
  1. Negative: 80 out of 584
584 movie reviews
    • 64 Metascore
    • 50 Peter Debruge
    The tension's palpable and the deaths are gruesomely inventive (and jarringly abrupt), but the clincher is so far-fetched you may end up wishing you'd opted for the relative reality of a week in Cancun instead.
    • 46 Metascore
    • 50 Peter Debruge
    The script represents a too-tame middle ground, which gives the unfortunate impression that perhaps the filmmakers want us to empathize with this icky romance.
    • 45 Metascore
    • 50 Peter Debruge
    Although Davis’ performance is so good here, it’s tough to know where the real world ends and the vendetta fantasy begins.
    • 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).
    • 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.
    • 66 Metascore
    • 50 Peter Debruge
    Aflame with color and awash in symbolism, this undeniably ravishing yet ultimately disappointing haunted-house meller is all surface and no substance, sinking under the weight of its own self-importance into the sanguine muck below.
    • 69 Metascore
    • 50 Peter Debruge
    To pretend that the pledges (who voluntarily submit to such harassment) are somehow the victims in an institution of exclusion, objectification and underage substance abuse goes far beyond disingenuous, and the resulting film falls far short of actually surprising those who already know a thing or two about fraternities.
    • tbd Metascore
    • 50 Peter Debruge
    With its sultry two-tone, blue-and-bronze design, Sfar’s version certainly looks stunning, but it’s remarkably empty-headed.
    • 51 Metascore
    • 50 Peter Debruge
    Most of the jokes are real groaners, though the humor is welcome, while shooting select exteriors with tilt-shift lenses (for a miniature-faking effect that makes real-world buildings look like tiny Lego sets) adds another creative touch to the overall package.
    • 48 Metascore
    • 50 Peter Debruge
    Fendrik seems more interested in the rich jungle surroundings than in the generic human struggle in the foreground, alternating between clunky setpieces (such as the sitting-duck rowboat shootout) and long stretches where the characters say nothing.
    • 61 Metascore
    • 50 Peter Debruge
    One of those outrageous stalker thrillers in which so much trouble could have been avoided if the characters had only thought to call the police.
    • 64 Metascore
    • 50 Peter Debruge
    As much as White Girl has to offer in raw immediacy, it lacks the distance to offer much in the way of meaningful commentary, distinguishing itself (for the worse) from such earth-shaking social critics as Bret Easton Ellis and Harmony Korine.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Peter Debruge
    Trading her improv-based filmmaking style for a more traditional screenplay-grounded model, Lynn Shelton delivers an uneven mix of half-formed conflicts.
    • 42 Metascore
    • 50 Peter Debruge
    Considering that Insurgent is meant to represent the series’ great civil war, it all comes across feeling like a tempest in a teapot: a glorified rehash of what came before, garnished with the promise of what lies in store.
    • 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.
    • 65 Metascore
    • 50 Peter Debruge
    What began as a self-contained allegory on open class warfare becomes a showcase for stylistic anarchy, wherein the ensuing orgy of sex and violence serves to justify a near-total breakdown of cinematic form.
    • 67 Metascore
    • 50 Peter Debruge
    Maps struggles to mix its various genres: Part showbiz sendup, part ghost story, part dysfunctional-family drama, the movie instead comes across as so much jaded mumbo-jumbo.
    • 51 Metascore
    • 50 Peter Debruge
    Neither Pena nor the pic itself delivers the necessary dynamism, strained by a modest budget and too few extras to sufficiently re-create a movement that found strength in numbers.
    • 53 Metascore
    • 50 Peter Debruge
    I'd like to say that Flightplan is one of those white-knuckle, edge-of-your-seat thrill rides that critics are always raving about, but instead, it's more like a transatlantic flight with no clear destination, where the cabin noise makes it impossible to sleep and the in-flight movie is a rerun.
    • 46 Metascore
    • 50 Peter Debruge
    Secret Window's premise is certainly new, even if King appears to be plagiarizing themes from himself.
    • 60 Metascore
    • 50 Peter Debruge
    A scrappy portrait of half a dozen renegade gold-diggers.
    • 31 Metascore
    • 50 Peter Debruge
    While the scares are in short supply, there’s a surfeit of macabre, tongue-in-cheek creativity to be found here.
    • 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.
    • 50 Metascore
    • 50 Peter Debruge
    [Portman's] drearily empathetic film lacks whatever universality has made “Tale” such an international phenomenon.
    • 66 Metascore
    • 50 Peter Debruge
    Ferrara finds himself imitating rather than innovating.
    • 63 Metascore
    • 50 Peter Debruge
    Wise is plenty eloquent on the complex legal issue, but remains vague about how the status he seeks will practically impact animals (could animal weddings be far behind?) or why he’s the “person” best qualified to represent them in court.
    • 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."

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