Peter Debruge
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For 416 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 The Three Burials of Melquiades Estrada
Lowest review score: 0 Pretty Persuasion
Score distribution:
  1. Negative: 76 out of 416
416 movie reviews
    • 44 Metascore
    • 50 Peter Debruge
    In post-"Wedding Crashers" Hollywood, the entire exercise feels dated (just as the comedy's PG-13 rating -- this in spite of a recurring rape joke -- makes it feel neutered).
    • 36 Metascore
    • 50 Peter Debruge
    Coolidge knows he's not making "Death of a Salesman" here (he names the store managers Glen Gary and Glen Ross in tribute to David Mamet's elegy to the American Dream), but he's got the same eye for detail that made "Office Space" great. What he lacks is Arthur Miller's (or even Mike Judge's) sense for character.
    • 68 Metascore
    • 50 Peter Debruge
    Whereas E.B. White's beloved novel introduced kids to the cycle of life, tenderly broaching the tricky subject of mortality, this latest movie version plays like just another piece of vegetarian agitprop.
    • 59 Metascore
    • 50 Peter Debruge
    By suggesting that the man's life was as riotously funny as his plays, writer-director Laurent Tirard leaves us wishing he'd opted to do a straightforward adaptation instead.
    • 64 Metascore
    • 50 Peter Debruge
    The tension's palpable and the deaths are gruesomely inventive (and jarringly abrupt), but the clincher is so far-fetched you may end up wishing you'd opted for the relative reality of a week in Cancun instead.
    • 33 Metascore
    • 50 Peter Debruge
    While this Kid isn't up to "Spy Kids" standards, the good news is the film hews closer to the high-concept kids' movies of the 1980s than to all that Disney Channel goo that's been repackaged for the big screen lately.
    • 46 Metascore
    • 50 Peter Debruge
    Secret Window's premise is certainly new, even if King appears to be plagiarizing themes from himself.
    • 61 Metascore
    • 50 Peter Debruge
    One of those outrageous stalker thrillers in which so much trouble could have been avoided if the characters had only thought to call the police.
    • 47 Metascore
    • 50 Peter Debruge
    There's a lot to be said for a movie that isn't after instant fame, but only wants to make audiences feel good.
    • 46 Metascore
    • 50 Peter Debruge
    I'd gladly take the legend over this dreary pseudo-historical mumbo jumbo.
    • 48 Metascore
    • 50 Peter Debruge
    If you were hoping to find another "Nemo," you're likely to be let down by this insincere and borderline unpleasant alternative.
    • 49 Metascore
    • 50 Peter Debruge
    American audiences have seen Ju-On. And The Grudge just goes to show why remaking it is such a frivolous idea: What's the use in wasting so much energy if the filmmakers aren't going to fix what was wrong with the movie in the first place?
    • 48 Metascore
    • 50 Peter Debruge
    One of those slow-baked Southern character studies about taking an old flat tire of a man and finding some way to love him anyway.
    • 37 Metascore
    • 50 Peter Debruge
    The beauty of You Got Served is that it delivers the moves from every vantage point.
    • 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.
    • 39 Metascore
    • 50 Peter Debruge
    This inventive family movie sets up the most delightful premise, then squanders it on the kind of yawn-inducing CG adventure you might expect from one of those long, plot-heavy cut scenes that slow down video games.
    • 37 Metascore
    • 50 Peter Debruge
    Visually, “Walking With Dinosaurs” dazzles with its combination of Animal Logic-animated CG creatures...and beautiful practical backgrounds... Less dazzling is the constant stream of jokey banter, which thwarts the pic’s educational potential and caps its target age awfully low.
    • 39 Metascore
    • 50 Peter Debruge
    An epic showcase for mediocre CGI and slapdash screenwriting.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Peter Debruge
    Strong on texture but taxingly light on narrative.
    • 63 Metascore
    • 50 Peter Debruge
    The meticulously crafted world is stunning to behold, imagined to the minutest detail and photographed with the sort of dramatic lighting and dynamic camera movement rarely seen in stop-motion. Trouble is, it’s not a place most folks would care to spend any time.
    • 44 Metascore
    • 50 Peter Debruge
    More irrelevant than irreverent, the unworthy script from “Bill and Ted’s Excellent Adventure’s” Chris Matheson might play to apocalyptically stoned college kids, but offers nothing in the way of broader social satire, suggesting the waste of a perfectly good Reckoning — not to mention the talents of a cast far funnier than the doom-and-gloom results suggest.
    • 56 Metascore
    • 50 Peter Debruge
    It’s a vibrant journey, but not a terribly illuminating one.
    • 43 Metascore
    • 50 Peter Debruge
    Violet & Daisy feels radically disconnected from recognizable human behavior.

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