Peter Debruge
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For 460 reviews, this critic has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% 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 Brothers
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
  1. Negative: 79 out of 460
460 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.
    • tbd Metascore
    • 60 Peter Debruge
    Racing Extinction tends to be far more effective when presenting its enlightened activists as heroes.
    • 76 Metascore
    • 60 Peter Debruge
    The conflict at the core of the WikiLeaks saga is dramatically lacking.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 60 Peter Debruge
    A debut effort that occasionally bogs down in its own symbolism.
    • 45 Metascore
    • 60 Peter Debruge
    While Lautner is to be admired for his physical commitment to the role, the below-the-line team lighting, shooting and choreographing his moves deserves equal credit. The film wouldn’t have worked without such a versatile team, which otherwise operates without a trace.
    • tbd Metascore
    • 60 Peter Debruge
    As heroines go, it’s refreshing to get one as complex as this: When psychologically scarred female characters do turn up in thrillers, they’re usually little more than shivering victims who set a group of male cops in motion, but here, Libby does her own detective work, while Hendricks lends star power to the flashback scenes.
    • 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.
    • 62 Metascore
    • 60 Peter Debruge
    Something about working with Pacino forces what could have been a breaks-the-mold character portrait into factory-made territory.
    • 64 Metascore
    • 60 Peter Debruge
    There’s really only one ingredient for which The Salvation is likely to be remembered: Eva Green.
    • 51 Metascore
    • 60 Peter Debruge
    Writer-director Brian Savelson drags four characters all the way out to the woods to orchestrate the sort of politely confrontational chamber piece best suited to an Off Off Broadway stage in In Our Nature, an eloquent but overly rehearsed drama.
    • 44 Metascore
    • 60 Peter Debruge
    Suitable for teens — lies somewhere between indignant expose and unusually tasteful exploitation picture, with shower scenes and sweaty young delinquents aplenty.
    • 62 Metascore
    • 60 Peter Debruge
    Without sacrificing the piece‘s warm comic undertones, this minimally adapted theatrical piece remains richer and far more thought-provoking than a typical night at the movies — if only the entire cast were as strong as Stewart.
    • 62 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.
    • 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.
    • 57 Metascore
    • 60 Peter Debruge
    The entire scenario, contrived to within an inch of its life, takes Poelvoorde’s appeal for granted. Marc’s anxiety becomes our own once he realizes what he’s done, though Jacquot makes it much more compelling to watch his characters fall in love than it is to see them writhe and twist amid its complications.
    • 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
    There’s something decidedly old-fashioned — and also dull as ditchwater — about Jonathan Teplitzky’s retelling of events.
    • 67 Metascore
    • 60 Peter Debruge
    Edmands maintains too measured a pace as he cycles through the various lives affected, to the extent that one begins to wonder when things will start kick in.
    • 58 Metascore
    • 60 Peter Debruge
    In tapping Satrapi to interpret this project, the producers have done about as well as one could expect with such material. Still, a bit more consistency in style would have gone a long way.
    • 91 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.
    • 55 Metascore
    • 60 Peter Debruge
    Unimaginative and downright predictable by grownup standards, but bursting with elements sure to appeal to younger auds.
    • 59 Metascore
    • 60 Peter Debruge
    Simultaneously clever and exasperating, the film puts a novel spin on the genre Roger Ebert dubbed “the Dead Teenager Movie.”
    • 38 Metascore
    • 60 Peter Debruge
    Herzog’s script loses its way in the desert at one point, dutifully chronicling a life whose principal conflicts are a bit too abstract to dramatize. In the end, it’s not clear what’s driving Bell, nor what’s holding her back.
    • 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.
    • 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.
    • 56 Metascore
    • 60 Peter Debruge
    Rather than linger on the project’s shortcomings, which only disappoint relative to the story’s incredible creative potential, it should be said that in partnership with Berla, Malzieu has created a fully realized, wildly imaginative storybook world and populated it with eccentric characters.

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