For 175 reviews, this critic has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
Average review score: 63
Highest review score: 100 Leviathan
Lowest review score: 20 Interior. Leather Bar.
Score distribution:
  1. Positive: 90 out of 175
  2. Negative: 17 out of 175
175 movie reviews
    • 58 Metascore
    • 60 Peter Debruge
    Jackson and his team seem compelled to flesh out the world of their earlier trilogy in scenes that would be better left to extended-edition DVDs (or omitted entirely), all but failing to set up a compelling reason for fans to return for the second installment.
    • 63 Metascore
    • 60 Peter Debruge
    Considering how graphic Campos is willing to be, "restrained" may not the right word for his approach, and yet Simon Killer withholds so much that some amount of frustration is sure to follow.
    • 51 Metascore
    • 60 Peter Debruge
    It's nice to have actors of Sarandon and Pepper's caliber onboard for the office-bound wheeler-dealer scenes, but mostly, it's the prospect of witnessing Johnson at the helm of an 18-wheeler as he rams his way through machine-gun fire that excites.
    • 68 Metascore
    • 60 Peter Debruge
    The story of a teen desperate for a father figure who finds encouragement from a wild-and-crazy water-park employee -- rather than from the guy auditioning to be his stepdad -- can be explosively funny in parts, but overall feels pretty familiar, relying more on its cast than the material to win favor.
    • 34 Metascore
    • 60 Peter Debruge
    Promising crude straight-boy humor, but delivering sensitive buddy moments and tons of male nudity, this by-the-numbers gut-buster looks slick, moves fast and packs enough laughs to enliven spring-break receipts and earn its helmers more work.
    • 76 Metascore
    • 60 Peter Debruge
    The conflict at the core of the WikiLeaks saga is dramatically lacking.
    • 39 Metascore
    • 60 Peter Debruge
    Despite the inherent perversity of the concept, Mosley succeeds in maintaining a certain sweetness throughout. Even more impressively, she makes her low-budget enterprise look as slick as most midrange studio comedies, demonstrating herself a director with both imagination and technical ingenuity.
    • 43 Metascore
    • 60 Peter Debruge
    A debut effort that occasionally bogs down in its own symbolism.
    • 40 Metascore
    • 60 Peter Debruge
    Director D.J. Caruso offers a practical solution to the issue of adolescent bullying, as its two young protags respond to a case of vicious hazing not with despair or retaliation, but through teamwork and character-building.
    • 59 Metascore
    • 60 Peter Debruge
    There’s something decidedly old-fashioned — and also dull as ditchwater — about Jonathan Teplitzky’s retelling of events.
    • 54 Metascore
    • 60 Peter Debruge
    Rather than channeling James Thurber’s satirical tone, Stiller plays it mostly earnest, spinning what feels like a feature-length “Just Do It” ad.
    • 59 Metascore
    • 60 Peter Debruge
    Like too many of Sayles’ films, Go for Sisters seems bound to slip through the cracks, not quite memorable enough to make a lasting impression.
    • 66 Metascore
    • 60 Peter Debruge
    Jeremy Lovering’s tense debut might have worked better had it left more to the imagination. Still, crisp camerawork and amplified sound yield paranoia aplenty.
    • 73 Metascore
    • 60 Peter Debruge
    Clearly, Wheatley is bored with the paint-by-numbers approach of his horror contemporaries, but has swung so far in the opposite direction here, the result feels almost amateurishly avant garde at times, guilty of the sort of indulgences one barely tolerates in student films.
    • 58 Metascore
    • 60 Peter Debruge
    This more broadly appealing project feels daringly frank on the subject of sex. But as is frequently the case with the most saturnalian comedies, it’s actually quite conservative when it comes to allowing its characters to follow through on their uninhibited talk.
    • 39 Metascore
    • 60 Peter Debruge
    While more coherent than much of Anderson’s recent work, the film proves less successful at combining destruction and damsel-in-distress storytelling within the same frame, serving up blurry images of Milo trying to rescue Cassia while the city crumbles around them.
    • 57 Metascore
    • 60 Peter Debruge
    The idea here isn’t to titillate with tawdry teen hormones, but to offer an outlet for all that mental distress young people take on while trying to find their place in the world.
    • 89 Metascore
    • 60 Peter Debruge
    Ida
    It’s one thing to set up a striking black-and-white composition and quite another to draw people into it, and dialing things back as much as this film does risks losing the vast majority of viewers along the way, offering an intellectual exercise in lieu of an emotional experience to all but the most rarefied cineastes.
    • 62 Metascore
    • 60 Peter Debruge
    Edwards seems to have miscalculated our investment in his cast...simultaneously underestimating how satisfying some good old-fashioned monster-on-MUTO action can be.
    • 55 Metascore
    • 60 Peter Debruge
    More sensitive than sensational, Candler’s debut doesn’t add much in the way of insight to the juvenile delinquency genre, but boasts a stunning breakthrough performance from newcomer Josh Wiggins as the troublemaker in question.
    • 60 Metascore
    • 60 Peter Debruge
    There’s really only one ingredient for which The Salvation is likely to be remembered: Eva Green.
    • 63 Metascore
    • 60 Peter Debruge
    The film all too eagerly allows itself to be taken in by Payne’s charms, trying to capture her human side via interviews with her two grown children, while all but ignoring the all-too-obvious cautionary aspect in favor of escapist entertainment.
    • 52 Metascore
    • 50 Peter Debruge
    What's missing cast-wise is an appealing personality in the sidekick role, and Webb is no match for Mads Mikkelsen.
    • 50 Metascore
    • 50 Peter Debruge
    Reacher is a brawny action figure whose exploits would have been a good fit for the likes of Arnold Schwarzenegger or Sylvester Stallone back in the day, but feel less fun when delegated to a leading man like Tom Cruise. The star is too charismatic to play someone so cold-blooded, and his fans likely won't appreciate the stretch.
    • 48 Metascore
    • 50 Peter Debruge
    Strong on texture but taxingly light on narrative.
    • 35 Metascore
    • 50 Peter Debruge
    With Identity Thief, Melissa McCarthy proves she's got what it takes to carry a feature, however meager the underlying material.
    • 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.
    • 48 Metascore
    • 50 Peter Debruge
    The comedy feels forced as Fey works overtime to insert unnecessary zingers at the tail of every scene. If the cast weren’t so endearing, her actions could easily sour an audience on the whole experience, and Admission digs itself a hole only an ensemble this appealing can escape.
    • 41 Metascore
    • 50 Peter Debruge
    A North Korean terrorist may be responsible for taking the president hostage, but it’s Bulgarian-made CGI that does the most damage in Antoine Fuqua’s intense, ugly, White-House-under-siege actioner Olympus Has Fallen.
    • 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.