Peter Debruge

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For 596 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 1.6 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Django Unchained
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
  1. Negative: 80 out of 596
596 movie reviews
    • 57 Metascore
    • 70 Peter Debruge
    Audiences may not care about this gang when the party starts, but once the dust settles, you’ve gotta admit, they made for pretty good company.
    • 80 Metascore
    • 70 Peter Debruge
    While the ultra-clever first act stockpiles sufficient admiration from audiences to sustain the film, the bulk of The Brand New Testament concerns itself with Van Dormael’s most persistent preoccupation: the tug-of-war between fate and free will.
    • 75 Metascore
    • 70 Peter Debruge
    The atmosphere inside Studio Ghibli may suggest a zen-like idyll, but animation is a painstaking — and sometimes painful — process, and though shaggy and somewhat ordinary in places, Sunada’s tour of the “Kingdom” makes us appreciate the magic all the more.
    • 53 Metascore
    • 70 Peter Debruge
    Running a full reel longer than needed, the film’s balance of romance, humor and pathos starts to slip in the final stretch... though the emotional notes ring true.
    • 68 Metascore
    • 70 Peter Debruge
    All sorts of interesting questions swirl beneath the surface.
    • 67 Metascore
    • 70 Peter Debruge
    For those who know the strip well, The Peanuts Movie should feel like the first day of a new school year, reunited with a classroom full of familiar faces.
    • 51 Metascore
    • 70 Peter Debruge
    An impressive, thought-provoking astro-adventure that benefits from the biggest screen available.
    • 60 Metascore
    • 70 Peter Debruge
    There’s something deeper — and deeply original — going on in Decker’s film that demands either a second viewing or a willingness to push past easy dismissal (certainly by conventional standards, the film seems hopelessly amateurish).
    • 79 Metascore
    • 70 Peter Debruge
    The pic’s charm comes from its moments of unforced naturalism: little observations about the way people behave, paired with details and anecdotes that Poekel himself lived during his years operating McGrolick Trees, the same stand where the film was shot.
    • tbd Metascore
    • 70 Peter Debruge
    For all the effort put into recreating the era in question — supported here by awe-inspiring visual effects work by Pixomondo — Jan Berger’s script still relies on simplistic emotional ploys and reductive characterizations... But then, such tactics proved perfectly acceptable in such hefty period offerings as “Braveheart” and “Gladiator,” and The Physician truly is a comparable achievement.
    • 55 Metascore
    • 70 Peter Debruge
    Shepard balances a livelier-than-life script with striking, super-saturated images, which makes the film feel bigger than it is.
    • 68 Metascore
    • 70 Peter Debruge
    With no car chases or artificial villains to get in the way, and no treacly contrivances to force unearned emotions, the bright, vaguely sitcom-styled movie is free to make audiences feel good on its own genuine terms.
    • 56 Metascore
    • 70 Peter Debruge
    Stronger on concept than story, Brian Lynch’s Minions script emphasizes scale over quantity.
    • 79 Metascore
    • 70 Peter Debruge
    This may be Schamus’ directorial debut, but he’s no amateur, and his experience — both in cinema and in life — comes through onscreen.
    • 69 Metascore
    • 70 Peter Debruge
    While Palo Alto doesn’t seem to be saying anything new exactly, it boasts a clear and confident voice of its own, and it will be exciting to see where the young Coppola goes from here.
    • 61 Metascore
    • 70 Peter Debruge
    Ultimately, the enigmatic surface conflict — in which a man must contend with his own carbon copy as rival — proves to be the film’s own worst enemy, for its dark, David Lynchian allure proves almost too compelling, obscuring the material’s deeper themes.
    • 62 Metascore
    • 70 Peter Debruge
    While not quite as charming or unique as the original, Despicable Me 2 comes awfully close.
    • 62 Metascore
    • 70 Peter Debruge
    Another gently relatable, regionally inclined dramedy, this one concerning a semi-oblivious husband (Paul Schneider) caught completely off-guard when his wife (Melanie Lynskey) files for divorce.
    • 78 Metascore
    • 70 Peter Debruge
    Running a short 84 minutes, Risk offers considerable insights into Assange, but seems to omit as much as it reveals.
    • 65 Metascore
    • 70 Peter Debruge
    Falardeau actually spent time filming in Sudan for a completely different project back in 1994 before being forced to evacuate by the U.N., but he consciously decides not to rub our noses in tarted-up awfulness, opting for steady-footed lensing and subdued music, then trusting our imaginations to fill in the horrors.
    • 66 Metascore
    • 70 Peter Debruge
    Hoogendijk has created an artifact that, while not exactly elegant, 400 years hence may prove as vital a window into Amsterdam culture as any of the Dutch masterpieces hanging in the museum itself.
    • 70 Metascore
    • 70 Peter Debruge
    Where “Heart” excels, however, is simply in capturing the rhythm of life.
    • 65 Metascore
    • 70 Peter Debruge
    Offsetting stiff acting with rich atmosphere, visuals and music, this long-awaited picture hits the novel's key plot points without denying its spiritual soul.
    • 82 Metascore
    • 70 Peter Debruge
    Instead of explaining the system through conventional narration, which would have been extremely helpful, the filmmakers immerse auds in the world they found, capturing its subjects’ behavior with startling candor.
    • 77 Metascore
    • 70 Peter Debruge
    Regrettably, Kiki seems far less interested in entertainment than activism.
    • 58 Metascore
    • 70 Peter Debruge
    While seriousness has overtaken the Bond franchise in recent years (hardly a bad thing, mind you), Kingsman runs no such risk. Vaughn welcomes details that might seem silly in another director’s hands, such as a bulletproof umbrella or tiny microchips that can make one’s head explode, presenting everything playfully enough that plausibility isn’t a factor.
    • 66 Metascore
    • 70 Peter Debruge
    Watts demonstrates masterful control, pushing right up against the limits of what we can take (even non-parents will be rattled watching the boys mishandling loaded weapons), and yet, at every turn, the screenplay falls short of the picture’s full potential, missing opportunities that could have made this a classic.
    • 78 Metascore
    • 70 Peter Debruge
    It is, in short, a city that only the Mouse House could imagine, and one that lends itself surprisingly well to a classic L.A.-style detective story, a la “The Big Lebowski” or “Inherent Vice,” yielding an adult-friendly whodunit with a chipper “you can do it!” message for the cubs.
    • 52 Metascore
    • 70 Peter Debruge
    This is one of the kindest characters Williams has ever played, which makes his self-imposed turmoil — the consequence of not wanting to hurt anyone, least of all his wife — all the more tragic.
    • 65 Metascore
    • 70 Peter Debruge
    One could argue that “Mockingjay” didn’t really merit being split in two (and surely a single three-hour movie could be made of it), but we benefit from the fact that the film has been given room to breathe, which allows for subtle character moments...and the gradual building of suspense during the actual siege in the Capitol.

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