Peter Debruge
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For 412 reviews, this critic has graded:
  • 57% higher than the average critic
  • 4% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Enron: The Smartest Guys in the Room
Lowest review score: 0 Pretty Persuasion
Score distribution:
  1. Negative: 75 out of 412
412 movie reviews
    • 48 Metascore
    • 38 Peter Debruge
    When confronted with real problems--and there's enough melodrama here to top a movie-of-the-week marathon on Lifetime--these otherwise empowered characters seem helpless to defend themselves.
    • 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.
    • 30 Metascore
    • 38 Peter Debruge
    Despite its preposterous leaps of logic, it somehow still emerges a reasonably entertaining summer blockbuster.
    • 31 Metascore
    • 38 Peter Debruge
    Zombie's film plays more like an experimental pastiche than an outright homage to those classic road-trip-gone-wrong movies.
    • 65 Metascore
    • 38 Peter Debruge
    At best, this movie functions as a brief companion piece to Boy George's new Broadway show, “Taboo.”
    • 47 Metascore
    • 38 Peter Debruge
    The studio wimped out, and the result is a lesser production on every level: talent, script, content, and purpose.
    • 61 Metascore
    • 38 Peter Debruge
    Director Brad Anderson (Session 9) overtly cribs from everyone from Dostoevsky to Kafka.
    • 39 Metascore
    • 38 Peter Debruge
    An ambitious disaster, Alexander is the rare historical portrait that leaves you feeling as though you know less about its subject than you did upon entering the theater.
    • 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.
    • 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.
    • 37 Metascore
    • 38 Peter Debruge
    Absence of motive makes the movie provocative; the explanation renders it irrelevant and defuses any interesting debate the film might have inspired.
    • 38 Metascore
    • 38 Peter Debruge
    In the age of reality television, Paparazzi feels desperately out-of-touch, the jaded grousings of an industry burnout.
    • 43 Metascore
    • 38 Peter Debruge
    Threadbare sequel.
    • 44 Metascore
    • 38 Peter Debruge
    Amounts to little more than a downbeat soap opera as half a dozen squatters -- hustler, junkie, stripper, queer, fallen Madonna and skank, with a mentally challenged roomie thrown in for good measure -- try to hold their lives together in a grungy New York loft just days before Christmas. Think "Rent" without the music.
    • 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.
    • 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.
    • 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.
    • 35 Metascore
    • 30 Peter Debruge
    Even the hackiest of Hollywood writers would have known how to fix its considerable script problems.
    • 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.
    • 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.
    • 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.
    • 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.
    • 19 Metascore
    • 30 Peter Debruge
    At the very least, Kite could have given Jackson some scenery to chew.
    • 36 Metascore
    • 25 Peter Debruge
    Downright awful.
    • 30 Metascore
    • 25 Peter Debruge
    Diesel valiantly but unsuccessfully tries to raise this inane bit of Mr. Mommery above its afternoon-special standing.
    • 44 Metascore
    • 25 Peter Debruge
    For a horror movie to work, it has to be ABOUT something.
    • 35 Metascore
    • 25 Peter Debruge
    Stealth is basically the kind of movie a 13-year-old boy given an infinite budget and creative freedom might cook up between Xbox games.
    • 40 Metascore
    • 25 Peter Debruge
    Swedish director Mikael Håfström's Derailed makes "Fatal Attraction" look positively subtle, while mustering none of the nuance or moral complexity (not to mention the sexual chemistry) of "Unfaithful."
    • 44 Metascore
    • 25 Peter Debruge
    What is most beguiling about The Libertine is that it allows Wilmot to self-destruct without ever giving us cause to care or relate.