Peter Debruge
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For 475 reviews, this critic has graded:
  • 56% higher than the average critic
  • 4% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 1 point higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Me and You and Everyone We Know
Lowest review score: 0 Another Gay Movie
Score distribution:
  1. Negative: 79 out of 475
475 movie reviews
    • 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.
    • 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.
    • 62 Metascore
    • 60 Peter Debruge
    It cuts to the heart of the self-doubt, fear and prejudice associated with modern homosexuality.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 60 Peter Debruge
    Unimaginative and downright predictable by grownup standards, but bursting with elements sure to appeal to younger auds.
    • 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.
    • 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.
    • 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.”
    • tbd Metascore
    • 60 Peter Debruge
    Racing Extinction tends to be far more effective when presenting its enlightened activists as heroes.
    • 61 Metascore
    • 60 Peter Debruge
    The script never quite succeeds in making us care about Allan as a character (despite dubbing its quavering narration into English for the ease of American auds), but it finds an interesting balance for a personality who leaves a trail of disaster in his wake.
    • 64 Metascore
    • 60 Peter Debruge
    Though the slow-boil chemistry is there, the script feels flat, content to rely on the surface friction between its lead actors, rather than creating scenes in which we can really get to know the pair’s respective personalities before testing their limits in the field.
    • 54 Metascore
    • 60 Peter Debruge
    Given the escalating ambition of Noe’s oeuvre and the pornographic promo materials teased in advance of the pic’s Cannes premiere, who would have thought that Love would ultimately prove to be Noe’s tamest film?
    • 67 Metascore
    • 60 Peter Debruge
    Amusing as the Cooties script manages to be, one gets the distinct impression that its authors didn’t bother to visit a school at any point in the research or writing process, missing out on any number of jokes they could have made at public education’s expense.
    • 54 Metascore
    • 50 Peter Debruge
    If nothing else, You I Love delivers a brisk and spirited little taste of contemporary Russian culture through the eyes of three spontaneous, unpredictable and oddly charming characters.
    • 56 Metascore
    • 50 Peter Debruge
    The entire movie rides on Paul Kaye's performance.
    • 37 Metascore
    • 50 Peter Debruge
    Basically the first movie all over again, with plenty more of the bridge-jumping, rocket-launching action that audiences loved about the original.
    • 38 Metascore
    • 50 Peter Debruge
    The result is like a low-rent "Wizard of Oz" or "Labyrinth," sticking close to the formula of a kid who falls asleep and wakes up in a fantastical wonderland where everything's just a little bit off.
    • 47 Metascore
    • 50 Peter Debruge
    One of the great pleasures of the original Love Bug comes in watching all the live-action stunts, and CG just isn't the same.
    • 53 Metascore
    • 50 Peter Debruge
    An exercise intended exclusively for fans of the genre, another crude, hard-R bloodbath from the studio that brought you "High Tension" and "Saw."
    • 56 Metascore
    • 50 Peter Debruge
    Like a cross between "Man on Fire" and "Bad Boys 2," this demolition derby delivers eye-popping action sequences that would make even the Roadrunner roll his eyes in disbelief.
    • 47 Metascore
    • 50 Peter Debruge
    As far as titles go, Cote d'Azur doesn't quite cut it for this topsy-turvy French comedy, in which an innocent seaside vacation gets really messy once a family full of busybodies starts poking around in one another's business.
    • 55 Metascore
    • 50 Peter Debruge
    Considering its superlative title (second only to George Stevens's New Testament epic, "The Greatest Story Ever Told"), I'm sorry to report that The Greatest Game Ever Played ranks somewhere in the murky middleground of sports movies.
    • 62 Metascore
    • 50 Peter Debruge
    It's all in the telling, and Loggerheads practically aches with its own heal-the-world earnestness.
    • 60 Metascore
    • 50 Peter Debruge
    It's frustrating to watch Levin try to reason with far-gone street-corner evangelicals (whose arguments are preposterous at best) when he might be building a stronger case by other means.
    • 45 Metascore
    • 50 Peter Debruge
    Unlike this summer's compulsively watchable "Hustle & Flow," Get Rich or Die Tryin' captures none of the thrill of finding your voice, recording a demo or landing a concert.
    • 47 Metascore
    • 50 Peter Debruge
    This is superficial entertainment to say the least. But if you're looking for laughs, then Just Friends is just fine.
    • 38 Metascore
    • 50 Peter Debruge
    The remake seems to have been written and directed by people whose only experience with children is the long-distant memory of having been kids themselves so many years ago.
    • 65 Metascore
    • 50 Peter Debruge
    As long as the movie's set in Mexico City, The Matador is a slick and entertaining black comedy, but the instant Danny heads back to Denver, it comes flying apart at the seams.

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