Peter Debruge

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For 679 reviews, this critic has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 1.5 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
  1. Negative: 85 out of 679
679 movie reviews
    • 68 Metascore
    • 88 Peter Debruge
    Reveals more about the German people through sentimental comedy than such overtly political films as "The Nasty Girl" or "The Marriage of Maria Braun."
    • 65 Metascore
    • 88 Peter Debruge
    In the annals of Mediterranean island love stories, Respiro reflects the effortless charm of a film like "Il Postino," rather than the untidy manufactured romance of another "Captain Corelli's Mandolin."
    • 75 Metascore
    • 88 Peter Debruge
    In the end, it's not the answer to the kitchen mystery that matters but the revelation that there's ultimately no difference between this bachelor scientist and his bachelor subject.
    • 66 Metascore
    • 88 Peter Debruge
    A brilliant little exercise. As a horror movie, it packs one genuine scare after another, right up to the moment of its inconceivably ghastly end. As a mystery, it unfolds with an almost supernatural elegance. And as a metaphor for the movies themselves, it's truly exceptional.
    • 73 Metascore
    • 88 Peter Debruge
    Think of how M. Night Shyamalan redefined the ghost story (The Sixth Sense), the superhero creation myth (Unbreakable), and the alien-invasion epic (Signs)--and you may get a sense of the genius behind this fascinating new horror film.
    • 73 Metascore
    • 80 Peter Debruge
    With the aid of Johnsen’s doc to overcome the obstacles China has put in his path, Ai’s voice carries louder than ever before.
    • 72 Metascore
    • 80 Peter Debruge
    Summertime celebrates the unique couple’s chemistry, allowing their smiles to convey the transformative effect they have on one another.
    • 73 Metascore
    • 80 Peter Debruge
    Disguised as a drunken cartwheel through expat paradise, Mark Jarrett’s striking feature juggles questions of mortality along its rowdy cross-country path.
    • 69 Metascore
    • 80 Peter Debruge
    The satire is firmly seated in character, and no one understands how well a good homicide can elucidate character better than Wheatley.
    • 61 Metascore
    • 80 Peter Debruge
    The formula may be familiar, but the personalities are completely fresh, yielding a menagerie of loveable — if downright ugly — cartoon critters banding together to help these two incompatible roommates from ending up on the streets.
    • 81 Metascore
    • 80 Peter Debruge
    The pic owes its believability to Asser, who served as a therapist similar to Oliver’s character, drawing from his experience to shape the world. Asser brings more than just realism, however, crafting the central father-son relationship on the foundation of classical Greek tragedy.
    • 59 Metascore
    • 80 Peter Debruge
    Meticulously acted, gorgeously shot and hilariously insightful about the strange, inarticulable ways people can get on one another’s nerves, this psychological thriller takes its premise to surprising, darkly comic extremes.
    • 75 Metascore
    • 80 Peter Debruge
    There’s a quality to the violence here that elevates it above the literal (and reprehensible) nihilism of movies like last year’s “Hardcore Henry,” and instead achieves something more akin to dance.
    • 72 Metascore
    • 80 Peter Debruge
    Yonebayashi’s open-hearted tale, more than any other Ghibli offering, could conceivably have worked just as well in live-action, and yet the tender story gains so much from the studio’s delicate, hand-crafted approach.
    • 82 Metascore
    • 80 Peter Debruge
    Though the sheer scope of the material overwhelms “Pariah” director Dee Rees at times, she finds shoots of optimism among the mire that couldn’t be more welcome at a moment when the country seems more divided than ever.
    • 80 Metascore
    • 80 Peter Debruge
    Though Fanon’s words serve to justify the seemingly unconscionable — violence — the film ends with a very different call to action, one that stresses the need for “new concepts,” as if trying to calm the blood the film has brought to a boil over the dense and daunting 80-odd minutes that have come before.
    • 61 Metascore
    • 80 Peter Debruge
    In places, The Sense of an Ending seems almost frustratingly uninterested in establishing, much less solving, the riddles at its core, when in fact, it’s merely uninterested in pandering to those who lack the patience to appreciate its nuances.
    • 75 Metascore
    • 80 Peter Debruge
    Everything about the three principal teens registers as deserving of “human interest” to Rich Hill’s two helmers, whose generous attitude draws us into this deeply empathetic film.
    • 72 Metascore
    • 80 Peter Debruge
    Audiences needn’t be intimidated: Manifesto may not adhere to any conventional narrative structure, but it’s compulsively watchable all the same
    • 75 Metascore
    • 80 Peter Debruge
    Helmer Lenny Abrahamson (“Garage,” “Adam & Paul”) puts the pic’s eccentricity to good use, luring in skeptics with jokey surrealism and delivering them to a profoundly moving place.
    • 59 Metascore
    • 80 Peter Debruge
    While there are no profound life lessons to be found in these subplots, Jennings and his cast manage to deliver a steady supply of laughs, while respecting one of Illumination’s core principles: It’s OK to be silly.
    • 80 Metascore
    • 80 Peter Debruge
    Incendies vaults Denis Villeneuve to the status of serious director.
    • 74 Metascore
    • 80 Peter Debruge
    Schemes like this have a way of spiraling out of the characters’ control, but Moland and Aakeson maintain a firm grasp on the pacing, progressively building both carnage and suspense as the situation escalates toward a Mexican standoff of which even Sam Peckinpah would be proud.
    • 59 Metascore
    • 80 Peter Debruge
    Hoping to do for flesh-eaters what "The Twilight Saga" did for vampires, albeit on a smaller scale, writer-director Jonathan Levine spins Isaac Marion's novel into a broadly appealing date movie about a zombified Romeo and his lively Juliet.
    • 69 Metascore
    • 80 Peter Debruge
    It’s genuinely exciting megaplex entertainment, informed by extensive research, featuring bona fide movie stars, and staged with equal degrees of professionalism and respect.
    • 62 Metascore
    • 80 Peter Debruge
    Shyamalan’s goal is to keep us guessing, and in that respect, Split is a resounding success — even if in others, it could have you rolling your eyes.
    • 80 Metascore
    • 80 Peter Debruge
    The documentary broadens well beyond a portrait of this particular facility to address the underlying causes of these crimes and to question how society might more constructively deal with the issues, where offering counseling to abuse victims becomes as important as, if not more so than, persecuting their abusers.
    • 72 Metascore
    • 80 Peter Debruge
    Alleluia may be a remake, but its somber look couldn’t be more original — all the better for the film to spring its nasty surprises on auds, none more unexpected than the way certain shots remain seared into one’s subconscious in the days and weeks that follow.
    • 71 Metascore
    • 80 Peter Debruge
    In the end, it’s the ensemble’s collective attitude, plus the palpable chemistry between Patti and her friends, that defines the experience, not the stock desire to be discovered. Though if Patti Cake$ really did exist, this movie would certainly make her star.
    • 69 Metascore
    • 80 Peter Debruge
    Operation Avalanche demonstrates that there’s still plenty of room left within the found-footage format to craft fresh, high-concept projects, regardless of the fact that no one’s falling for their alleged authenticity any longer.

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