Peter Debruge

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For 757 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 1.1 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 The Work
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
  1. Negative: 91 out of 757
757 movie reviews
    • 76 Metascore
    • 90 Peter Debruge
    This splendid satire benefits...from “The Singer” director Giannoli’s gift for striking just the right tone with such tricky material.
    • 66 Metascore
    • 90 Peter Debruge
    No matter how fantastical the tale (and it gets pretty out-there at points), this splendid Steven Spielberg-directed adaptation makes it possible for audiences of all ages to wrap their heads around one of the unlikeliest friendships in cinema history, resulting in the sort of instant family classic “human beans” once relied upon Disney to deliver.
    • 77 Metascore
    • 90 Peter Debruge
    Clear, urgent and positively terrifying at times.
    • 77 Metascore
    • 90 Peter Debruge
    That rare Princess whose wishes do come true, Montgomery’s what is known as a “genuine discovery.”
    • 64 Metascore
    • 90 Peter Debruge
    Like watching a takedown of Hitler by a disillusioned Leni Reifenstahl, what emerges is one of the decade’s strangest and most unsettling documentaries, especially given its as-yet-unwritten ending.
    • 71 Metascore
    • 90 Peter Debruge
    One of the year’s most delightful moviegoing surprises, a quality family film that rewards young people’s imaginations and reminds us of a time when the term “Disney movie” meant something: namely, wholesome entertainment that inspired confidence in parents and reinforced solid American values.
    • 77 Metascore
    • 90 Peter Debruge
    One can’t help but feel inspired by both Jones’ sparkplug attitude and the gentle way those around her respond to her needs.
    • 84 Metascore
    • 90 Peter Debruge
    With such awe-inspiring artistry, designed so as to never distract from the material it serves, Kubo and the Two Strings stands as the sort of film that feels richer with each successive viewing, from the paper-folded Laika logo at the beginning (an early taste of the stunning origami sequences to follow) to the emotional resonance of its final shot.
    • 75 Metascore
    • 90 Peter Debruge
    It can take a TV series an entire season to establish a political intrigue as elaborate as the one Cedar devises here — and even longer to flesh out such a fascinating protagonist, when all Cedar had to do was give this archetype a name.
    • 70 Metascore
    • 90 Peter Debruge
    In both tone and approach, this animated treasure couldn’t be more different from the lavish high-tech toons competing in the American marketplace.
    • 81 Metascore
    • 90 Peter Debruge
    As princess movies go, this one broadens the studio’s horizons, and as Moana herself sings in the film, “no one knows, how far it goes.”
    • 85 Metascore
    • 90 Peter Debruge
    On one hand, the cartoon is never afraid to be cute, but more importantly, it’s committed to being real.
    • 84 Metascore
    • 90 Peter Debruge
    Blending race-savvy satire with horror to especially potent effect, this bombshell social critique from first-time director Jordan Peele proves positively fearless — which is not at all the same thing as scareless.
    • 89 Metascore
    • 90 Peter Debruge
    In another director’s hands, the residents might be labeled “eccentric” and condescendingly depicted for laughs, but Ewan McNicol and Anna Sandilands approach this touch-and-go community with curiosity and humanism, capturing what feels like a deciding moment in a series of struggles so far off the grid, they would otherwise escape our notice entirely.
    • 85 Metascore
    • 90 Peter Debruge
    For a director who emerged from indie film’s so-called “mumblecore” movement, Gemini feels like a grown-up achievement, and the sign of a director with so much more to give in the future.
    • tbd Metascore
    • 90 Peter Debruge
    Slee’s film boasts such a high level of writing, acting, and overall production polish that youngsters may be fooled into thinking they’re watching a mindless blockbuster, when in fact, they’ve actually been fooled into thinking.
    • tbd Metascore
    • 90 Peter Debruge
    It’s this strange alchemy — the way that a terse script can leave so much unsaid, combined with such a talented ensemble’s ability to suggest all the details left either in silence or in darkness — that makes “Sweet Virginia” such a haunting character study.
    • 74 Metascore
    • 90 Peter Debruge
    Who wouldn’t want a picturesque trip to the French capital that delivers more laughs than a nitrous oxide leak near the hyena compound? In fact, I’d go as far as to promise that Lost in Paris offers the three most delightful sight gags you’ll see on screen all year.
    • 77 Metascore
    • 90 Peter Debruge
    With no shtick to fall back on, Sandler is forced to act, and it’s a glorious thing to watch.
    • 84 Metascore
    • 90 Peter Debruge
    Farrell and Kidman are astonishingly gifted at playing the subtext of every scene.
    • 80 Metascore
    • 90 Peter Debruge
    Serraille studied literature before switching to cinema, and her sharp attention to the detail distinguishes Jeune femme from so many first-time indie features.
    • 75 Metascore
    • 90 Peter Debruge
    Wright is both a virtuoso filmmaker and a natural showman, interpreting the screenplay as no other director could have possibly imagined it.
    • 92 Metascore
    • 90 Peter Debruge
    The real surprise is just how honest and personal this film proves to be — again, par for the course with Gerwig, and yet, fairly rare among first-time directors, who haven’t had nearly so much practice simply being real.
    • 72 Metascore
    • 90 Peter Debruge
    It’s a film with the courage to be unlikable and the confidence to be complex, trusting audiences to navigate Brad’s whirling, restless mental state as it swings from jealousy to pride to what Ananya (correctly) identifies as “white privilege, male privilege, first-class problems” — otherwise known as entitlement.
    • 82 Metascore
    • 90 Peter Debruge
    Legrand’s achievement — his integrity, one might say — is that he’s managed to cut to the marrow of the situation while remaining keenly sensitive to how such things play out in the real world.
    • 74 Metascore
    • 90 Peter Debruge
    Molly’s Game delivers one of the screen’s great female parts — a dense, dynamic, compulsively entertaining affair, whose central role makes stunning use of Chastain’s stratospheric talent.
    • 87 Metascore
    • 88 Peter Debruge
    Herzog himself is one of the great lunatic directors of our century, a mad genius who repeatedly attempts to challenge nature and the gods in his own films.
    • 87 Metascore
    • 88 Peter Debruge
    The magic of the movies is never more evident than with stop-motion animation, and nobody does it better than Wallace and Gromit creator Nick Park.
    • 67 Metascore
    • 88 Peter Debruge
    A wild buckle-up-and-blast-off adventure that plunges every corner of kids' favorite subject.
    • 77 Metascore
    • 88 Peter Debruge
    In a year rich with animation options, Happy Feet stands head and shoulders above its competition.

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