Peter Debruge

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For 757 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 1.1 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Midnight Special
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
  1. Negative: 91 out of 757
757 movie reviews
    • 47 Metascore
    • 75 Peter Debruge
    Films like this have a way of finding their own devoted fan base, and Gypsy 83 deserves to be discovered not only by Goth and gay crowds, but by anyone who runs screaming from all things average.
    • 79 Metascore
    • 75 Peter Debruge
    A haunting, poetic film, and yet it suffers two major failings. First, Murray provides too blank a slate for the audience to appreciate whatever insights a more expressive performance might have offered. Second, and far more troubling, is the way Jarmusch refuses to take his female characters seriously.
    • 54 Metascore
    • 75 Peter Debruge
    Lee’s use of split-screens and dynamic transitions makes the process of actively interpreting his monstrous vision a fresh and unrivaled experience.
    • 67 Metascore
    • 75 Peter Debruge
    Kids will eat it up, while solid voice work from William Shatner and Wanda Sykes should keep this borderline-feral toon from pushing adults over the edge.
    • 56 Metascore
    • 75 Peter Debruge
    Not since "To Live and Die in L.A" has there been such a raw, cynical vision of living and dying in L.A.
    • 48 Metascore
    • 75 Peter Debruge
    Doesn't always work -- like its title, the movie straddles two separate worlds, landing squarely in the dreaded realm of "dramedy" -- but it's a noble effort.
    • 58 Metascore
    • 75 Peter Debruge
    The most extreme English-language studio release I've seen in years.
    • 47 Metascore
    • 75 Peter Debruge
    This is Gere’s movie, and Sarandon and Lopez graciously let him dance away with it.
    • 55 Metascore
    • 75 Peter Debruge
    Features some of the best fight and chase footage you'll see all summer.
    • 60 Metascore
    • 70 Peter Debruge
    With a hint of that my-way problem-solving approach, The Living Daylights freshens the Bond series’ cornball formula elements while reprising details that had made director John Glen’s debut, For Your Eyes Only, such a superior outing.
    • 59 Metascore
    • 70 Peter Debruge
    It’s a genre movie, to be sure, but there’s an impressive sense of authenticity — in the language, the locations and the overall texture —that goes a long way to sell the scenario.
    • 43 Metascore
    • 70 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.
    • 79 Metascore
    • 70 Peter Debruge
    Nichols’ film is seemingly less interested in its own glory than in representing what’s right, and though it features two of the best American performances of the past several years, from Joel Edgerton and Ruth Negga (neither of whom are American, hailing from Australia and Ethiopia, respectively), its emotional impact derives precisely from how understated they are.
    • 74 Metascore
    • 70 Peter Debruge
    This easily exportable, minority-driven drama has the potential to launch the careers of its young directors and cast.
    • 77 Metascore
    • 70 Peter Debruge
    Somehow, in accentuating Wiseau’s weirdness, Franco overlooks his soul.
    • 36 Metascore
    • 70 Peter Debruge
    Whether dangling characters off the edge of a cliff or zooming around Crusoe’s rickety wooden waterslide, the story is constantly on the go, launching objects and characters along the Z axis — and out over the audiences’ heads.
    • 57 Metascore
    • 70 Peter Debruge
    When the big tennis finale arrives, Metz finds all sorts of ways to make the match interesting, blending urgent music, creative camera vantages and ridiculously hyperbolic announcer commentary to generate the desired tension. But the real reason we’re invested is far simpler than that: Metz and his cast have made us care about both Borg and McEnroe by this point.
    • 50 Metascore
    • 70 Peter Debruge
    While never as gripping as a good piece of fiction, Goold’s treatment actually manages to improve on the book, even if that meant fabricating a few things along the way.
    • 48 Metascore
    • 70 Peter Debruge
    Perhaps the cleverest thing about Barker-Froyland’s delicately contrived debut is how uncontrived she manages to make it seem.
    • 75 Metascore
    • 70 Peter Debruge
    With Microbe and Gasoline, the French writer-director has wisely restrained his usual flourishes, allowing the two teenage leads in his relatively calm summer-vacation coming-of-age comedy to assume centerstage, imbuing them with creative agency rather than forcing them to compete with the film’s own style.
    • 85 Metascore
    • 70 Peter Debruge
    It may not be balanced or especially sophisticated filmmaking, suffering from a misty-eyed oversimplification of what relationships (gay or straight) actually demand. But for many, it’s precisely the sort of emotional eye-opener needed for young people to find inspiration and naysayers to reconsider their attitudes.
    • 73 Metascore
    • 70 Peter Debruge
    A vital expose of American law enforcement carried out with almost reckless zeal.
    • 65 Metascore
    • 70 Peter Debruge
    Much like a work of art, the film invites a range of reactions, though it’s far easier to process than the daubs, doodles and other weird works that now hang all over the country.
    • 72 Metascore
    • 70 Peter Debruge
    Zulawski maintains such expert control of the film’s look and tone that there can be no question that each choice has been deliberate, whatever the significance.
    • 59 Metascore
    • 70 Peter Debruge
    The director commissioned Struzan to paint the one-sheet for his debut, “Sexina: Popstar P.I.,” and while this sophomore effort is no masterpiece, it’s far more deserving of Struzan’s talent.
    • 86 Metascore
    • 70 Peter Debruge
    The result looks as much like a Natural History Museum diorama as it sounds: a respectful but waxy re-creation that feels somehow awe-inspiring yet chillingly lifeless to behold, the great exception being Jones' alternately blistering and sage turn as Stevens.
    • 71 Metascore
    • 70 Peter Debruge
    Over-production-designed as the film is, Bening and Bell manage to hold their own within it.
    • 74 Metascore
    • 70 Peter Debruge
    As the work of one young man bursting with inspiration, the film is a giddy thing to absorb, allowing complete strangers to witness someone performing open-heart surgery on himself.
    • 68 Metascore
    • 70 Peter Debruge
    For a movie in which you can’t follow what’s going on for 75% of the time, Deepwater Horizon proves remarkably thrilling.
    • 74 Metascore
    • 70 Peter Debruge
    While mirthless in the extreme, Cesar Acevedo’s deliberately paced and distant-feeling debut works its way under audiences’ skin, weaving a haunting allegory through painterly compositions.

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