Peter Debruge

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For 845 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0.4 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 A Pigeon Sat on a Branch Reflecting on Existence
Lowest review score: 0 Another Gay Movie
Score distribution:
  1. Negative: 98 out of 845
845 movie reviews
    • 46 Metascore
    • 60 Peter Debruge
    It’s all thoroughly unpleasant, but then, that’s what audiences for this kind of movie want from the experience, so consider it a success of sorts.
    • 66 Metascore
    • 60 Peter Debruge
    In keeping with Gitai’s typically austere oeuvre, it’s a long, slow and sober piece — one could even call it a documentary, despite the fact that actors have been hired to perform deposition scenes derived directly from Shamgar transcripts.
    • 59 Metascore
    • 60 Peter Debruge
    Like too many of Sayles’ films, Go for Sisters seems bound to slip through the cracks, not quite memorable enough to make a lasting impression.
    • 40 Metascore
    • 60 Peter Debruge
    Politics aside, however, the movie delivers on the inspiration of its premise, featuring just the sort of laughs one hopes for.
    • 68 Metascore
    • 60 Peter Debruge
    The Wave sticks mostly to the big-studio formula (albeit on a much smaller budget), introducing a handful of bland soon-to-be-victims before bombarding them with spectacular digital effects.
    • 60 Metascore
    • 60 Peter Debruge
    Beatty tries hard to re-create the look and feel of late-’50s Hollywood as it existed both on-screen and off, aided by DP Caleb Deschanel and terrific costume and set contributions. And yet, it actually comes off too conservative for its own time, with stiff performances from Collins and Ehrenreich.
    • 54 Metascore
    • 60 Peter Debruge
    Having learned a thing or two from Baz Luhrmann, Almereyda substitutes guns for daggers and picks his locations carefully, creating a rich, sultry-looking environment within which to stage the drama.
    • 58 Metascore
    • 60 Peter Debruge
    This more broadly appealing project feels daringly frank on the subject of sex. But as is frequently the case with the most saturnalian comedies, it’s actually quite conservative when it comes to allowing its characters to follow through on their uninhibited talk.
    • 66 Metascore
    • 60 Peter Debruge
    Rather than presenting a nuanced ending that’s open to interpretation, Barrett simply leaves us scratching our heads as to what just happened.
    • 66 Metascore
    • 60 Peter Debruge
    Though Felicioli and Gagnol’s visuals suggest colorful kidlit illustrations come to life, their labor-intensive style isn’t for everyone.
    • 70 Metascore
    • 60 Peter Debruge
    Where the film goes is both unexpected and necessary, since however grounded and relatable these thinly detailed characters might be, the movie doesn’t actually seem to be going anywhere.
    • 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
    Constructing character does not appear to be Earl and Caldwell’s strong suit (what’s satisfying about Cee owes almost entirely to Thatcher, a fresh face who tricks us into assuming she’s just a callow teen, when in fact, she proves to be the film’s toughest character). On the other hand, the duo show a real aptitude for world building.
    • 81 Metascore
    • 60 Peter Debruge
    Racing Extinction tends to be far more effective when presenting its enlightened activists as heroes.
    • 62 Metascore
    • 60 Peter Debruge
    Rats is that rare breed of nature doc, one designed not to foster greater empathy for a misunderstood species, but rather to exploit our preexisting fears of the filthy critters in question.
    • 62 Metascore
    • 60 Peter Debruge
    Cranston humanizes his sociopathic character, which is essential, considering that Wakefield is essentially a one-man show whose star grows increasingly creepy as his beard fills in and his fingernails lengthen and turn back.
    • 76 Metascore
    • 60 Peter Debruge
    The best part of “Miseducation” is the diverse group of adolescents sharing Cameron’s experience.
    • tbd Metascore
    • 60 Peter Debruge
    What the movie lacks in originality it makes up for in personality, as Kosturos brings the kind of rare alchemy to the role of Ali that makes all present feel as if they’re watching the birth of a movie star.
    • 53 Metascore
    • 60 Peter Debruge
    Benji may be far too simplistic for adults to find much enjoyment in watching, but it rewards active viewing from kids and displays mostly model behavior on the part of its young protagonists (once they stop keeping secrets from their mother, that is).
    • 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 shattering of one’s noble ideals is a delicate thing to capture on film, and White plays the moment of rupture with a banality that threatens to undermine our faith in her as storyteller more than in the system itself.
    • 55 Metascore
    • 60 Peter Debruge
    The most significant Bond ingredient missing from Live and Let Die is Q, whose gadgets still play a central role. The film also offers a few key additions, including an illuminating glimpse of Bond’s home.
    • 72 Metascore
    • 60 Peter Debruge
    The film is so understated with regard to Loung’s basic predicament that we don’t recognize her driving desire...until the movie is over.
    • 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.
    • 63 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.
    • 49 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.
    • 73 Metascore
    • 60 Peter Debruge
    We should be grateful that it exists, if only because it affords a long-overdue leading role to Kelly Macdonald.
    • 77 Metascore
    • 60 Peter Debruge
    This reunion between Kristen Stewart and the director who gave her one of her best-ever roles in 2014’s “Clouds of Sils Maria” is a broken, but never boring mix of spine-tingling horror story, dreary workplace drama and elliptical identity search, likely to go down as one of the most divisive films of Stewart’s career.
    • 43 Metascore
    • 60 Peter Debruge
    Enjoyment requires denying the increasingly problematic truth about Bond: As heroes go, 007 represents a bygone notion of the privileged white man taking what’s his and leaving destruction in his wake.

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