Peter Debruge

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For 667 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 1.4 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Dallas Buyers Club
Lowest review score: 0 Pretty Persuasion
Score distribution:
  1. Negative: 85 out of 667
667 movie reviews
    • 83 Metascore
    • 80 Peter Debruge
    The connection they share isn’t the kind that would pass for conventionally romantic, and yet, theirs is a compelling love story all the same — one the filmmakers follow with open minds, focusing on the lead-up to and days immediately following their wedding.
    • 80 Metascore
    • 80 Peter Debruge
    Despite all that it withholds, The Strange Little Cat ultimately proves a far more revealing form of family portrait.
    • 64 Metascore
    • 80 Peter Debruge
    Racy subject aside, the film provides a good-humored yet serious-minded look at sexual self-liberation, thick with references to art, music, religion and literature, even as it pushes the envelope with footage of acts previously relegated to the sphere of pornography.
    • 70 Metascore
    • 80 Peter Debruge
    Often poignant, occasionally pathetic, but never short of entertaining, Raiders! captures the obsessive hold movies have on young people’s imaginations.
    • 68 Metascore
    • 80 Peter Debruge
    Using Baltimore’s dirt-bike groups as its entry point, the film offers a remarkable grassroots look at how the system is broken at the inner-city level.
    • 62 Metascore
    • 80 Peter Debruge
    Teller is terrific, which should come as no surprise to “Whiplash” fans, though no less significant, the film represents a significant return for writer-director Ben Younger.
    • 76 Metascore
    • 80 Peter Debruge
    A spunky yet surprisingly sad portrait of a sexually liberated man held captive by his past, forever chasing and trying to rewrite his own legend.
    • 70 Metascore
    • 80 Peter Debruge
    Given all the attention on Russia in recent news coverage, Fogel’s Putin-centric approach will likely prove more effective than a deeper investigation into just how widespread such behavior is around the globe. But the greater takeaway is that the game itself is rigged, and the Russians only lost because they got caught.
    • 74 Metascore
    • 80 Peter Debruge
    Despite his movie-star reputation and looks, Mortensen remains a remarkably humble screen presence, a trait that’s perfect for a part that demands considerable empathy from whoever’s playing it.
    • 60 Metascore
    • 80 Peter Debruge
    The Wolverine boasts one of the best pulp-inspired scripts yet. It’s still full of corny dialogue...but there’s a genuine elegance to the way it establishes Logan’s tortured condition and slowly brings the character around to recovering his heroic potential, methodically setting up and paying off ideas as it unfolds.
    • 79 Metascore
    • 80 Peter Debruge
    Pavich does an admirable job tracking down surviving parties (except for the suspicious-sounding cast), opting for a humorous rather than indignant tone to the interviews.
    • 68 Metascore
    • 80 Peter Debruge
    Ultimately, the mock-doc device works because Gyllenhaal and Pena so completely reinvent themselves in-character. Instead of wearing the roles like costumes or uniforms, they let the job seep into their skin, a feat without which "End of Watch's" pseudo-reality never would have worked.
    • 60 Metascore
    • 80 Peter Debruge
    The source material may be David Sedaris (this marks the first time the essayist has allowed one of his pieces to be adapted), but the tone couldn’t be more Kyle Patrick Alvarez, who once again steers auds to some gloriously uncomfortable places.
    • 81 Metascore
    • 80 Peter Debruge
    Shooting in sleek 35mm, Franz and Fiala have dreamt up a home-invasion scenario where the aggressors lived there all along.
    • 60 Metascore
    • 80 Peter Debruge
    It’s one thing to declare sex a fact of life and insist that audiences confront their unease at seeing it depicted (or, equally constructive, their intense excitation at its mere mention), but quite another to fashion a fictional woman’s life around nothing but sex. As courageously depicted by Gainsbourg, Jo is ultimately a tragic character.
    • 83 Metascore
    • 80 Peter Debruge
    Phil Lord and Christopher Miller irreverently deconstruct the state of the modern blockbuster and deliver a smarter, more satisfying experience in its place, emerging with a fresh franchise for others to build upon.
    • 58 Metascore
    • 80 Peter Debruge
    This explosive reunion between Damon and director Paul Greengrass further reveals key secrets about Bourne’s origins, bringing its lethal protagonist as close as he’s ever likely to get to total recall.
    • 65 Metascore
    • 80 Peter Debruge
    The story distinguishes itself from other anime offerings through its attention to both visual and emotional realism.
    • 60 Metascore
    • 80 Peter Debruge
    While the plot — too low-key to be called a thriller — points toward obvious extramarital cliches, delicate changes in the overall mood reveal deeper truths.
    • 74 Metascore
    • 80 Peter Debruge
    Slow as molasses but every bit as rich.
    • 89 Metascore
    • 80 Peter Debruge
    While Lowery’s actual method of delivery may not be scary, it’s sure to haunt those who open themselves up to the experience.
    • 72 Metascore
    • 80 Peter Debruge
    Ross doesn’t run from the resulting sentimentality the way so many other directors do; nor does he undercut it with irony or sarcasm as has become the regrettable tendency in independent cinema.
    • 92 Metascore
    • 80 Peter Debruge
    What City of Ghosts does best is to humanize those who’ve suffered most from the conflict in Syria, educating us through both outrage and compassion.
    • 53 Metascore
    • 80 Peter Debruge
    Apart from the heavy debt it owes to Malick’s oeuvre, Edwards’ entrancing debut is radically non-generic, either as history film and coming-of-age piece.
    • 70 Metascore
    • 80 Peter Debruge
    A medieval convent comedy for the megaplex crowd.
    • 62 Metascore
    • 80 Peter Debruge
    A film that lays emotions on the line and then drives them home with music.
    • 74 Metascore
    • 80 Peter Debruge
    Animation proves the ideal medium for Miss Hokusai’s relatively tame story, allowing audiences to admire the family’s artwork within a world that they were partially responsible for creating.
    • 64 Metascore
    • 80 Peter Debruge
    The fact that they could all lay down their weapons and finish the deal heightens Wheatley’s generally irreverent approach, all of which serves to remind that guns don’t kill people; insecure, overcompensating idiots do.
    • 72 Metascore
    • 80 Peter Debruge
    More inspired by than adapted from Juan Mayorga’s play “The Boy in the Last Row,” this low-key thriller feels like a return to form for Ozon, whose pictures lost their psychosexual edge after the helmer stopped collaborating with Emmanuele Bernheim (“Swimming Pool”).
    • 80 Metascore
    • 80 Peter Debruge
    This vividly realized and emotionally satisfying feature ought to make Shinkai a household name — certainly in Japan, and with any luck, in other countries as well.

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