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 Enron: The Smartest Guys in the Room
Lowest review score: 0 Pretty Persuasion
Score distribution:
  1. Negative: 91 out of 757
757 movie reviews
    • 43 Metascore
    • 60 Peter Debruge
    A debut effort that occasionally bogs down in its own symbolism.
    • 58 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.
    • 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.
    • 39 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.
    • 60 Metascore
    • 60 Peter Debruge
    Trumbo may be clumsy and overly simplistic at times, but it’s still an important reminder of how democracy can fail (that is, when a fervent majority turns on those with different and potentially threatening values), and the strength of character it takes to fight the system.
    • 55 Metascore
    • 60 Peter Debruge
    More sensitive than sensational, Candler’s debut doesn’t add much in the way of insight to the juvenile delinquency genre, but boasts a stunning breakthrough performance from newcomer Josh Wiggins as the troublemaker in question.
    • 56 Metascore
    • 60 Peter Debruge
    Something about working with Pacino forces what could have been a breaks-the-mold character portrait into factory-made territory.
    • 64 Metascore
    • 60 Peter Debruge
    There’s really only one ingredient for which The Salvation is likely to be remembered: Eva Green.
    • 51 Metascore
    • 60 Peter Debruge
    Writer-director Brian Savelson drags four characters all the way out to the woods to orchestrate the sort of politely confrontational chamber piece best suited to an Off Off Broadway stage in In Our Nature, an eloquent but overly rehearsed drama.
    • 44 Metascore
    • 60 Peter Debruge
    Suitable for teens — lies somewhere between indignant expose and unusually tasteful exploitation picture, with shower scenes and sweaty young delinquents aplenty.
    • 56 Metascore
    • 60 Peter Debruge
    Cavill and Hammer have each toplined major tentpoles before, so it’s something of a mystery why neither makes much of an impression here, but there’s a curious vacuum at the center of The Man From U.N.C.L.E. that almost certainly owes to its casting.
    • 60 Metascore
    • 60 Peter Debruge
    Written raggedly enough for the actors to bring their own chemistry to what aspirationally feels like one of Robert Altman’s backstage dramas (a la “Nashville” or “Ready to Wear”), Magic Mike XXL is most fun when it isn’t trying to justify itself, but just kicking back with the guys — or better yet, giving them a fresh excuse to show off their creativity.
    • 59 Metascore
    • 60 Peter Debruge
    Whatever connection Bond had to the real world has now been severed in favor of delivering the most satisfying possible experience for audiences, such as a throwaway scene of Q using an electromagnetic device to beat the slot machines or allowing homosexual henchmen Wint and Kidd to devise elaborate (and yet easily escapable) traps.
    • 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.
    • 78 Metascore
    • 60 Peter Debruge
    It’s frustrating to watch, but designed in such a way that the boy’s loneliness will haunt long afterward.
    • 57 Metascore
    • 60 Peter Debruge
    All of this is reasonably interesting, but not as dramatic as it ought to be.
    • 58 Metascore
    • 60 Peter Debruge
    Benefiting enormously from its evocative Sicilian setting, this widescreen experience makes bewitching use of space, time and sound, creating an almost meditative atmosphere in which patient-minded auds might respond to its themes.
    • 62 Metascore
    • 60 Peter Debruge
    Certain images...leave lasting impressions, though Garciadiego’s script doesn’t seem to do enough with the story, other than laying it out in linear order for Ripstein to film.
    • 62 Metascore
    • 60 Peter Debruge
    The film all too eagerly allows itself to be taken in by Payne’s charms, trying to capture her human side via interviews with her two grown children, while all but ignoring the all-too-obvious cautionary aspect in favor of escapist entertainment.
    • 77 Metascore
    • 60 Peter Debruge
    The movie feels a little too sparse and literal in places.
    • 79 Metascore
    • 60 Peter Debruge
    Though undeniably gorgeous, it is punishingly long, frequently boring, and woefully unengaging at some of its most critical moments.... Still, viewed through the narrow prism of films about faith, Silence is a remarkable achievement.
    • 34 Metascore
    • 60 Peter Debruge
    Promising crude straight-boy humor, but delivering sensitive buddy moments and tons of male nudity, this by-the-numbers gut-buster looks slick, moves fast and packs enough laughs to enliven spring-break receipts and earn its helmers more work.
    • 41 Metascore
    • 60 Peter Debruge
    Though he clearly admires the woman, O’Haver doesn’t want to let her off easy, which makes for a more nuanced portrayal than the stock canonization another director might have chosen (it would have been just as easy to paint her as a devil).
    • 56 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.
    • 54 Metascore
    • 60 Peter Debruge
    Rather than channeling James Thurber’s satirical tone, Stiller plays it mostly earnest, spinning what feels like a feature-length “Just Do It” ad.
    • 59 Metascore
    • 60 Peter Debruge
    There’s something decidedly old-fashioned — and also dull as ditchwater — about Jonathan Teplitzky’s retelling of events.
    • 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.
    • 56 Metascore
    • 60 Peter Debruge
    Cretton captures the incidents of Walls’ childhood (too many of them, to be honest, as the film really ought to be half an hour shorter), but struggles to connect them to the grown woman Larson plays in the present.
    • 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.
    • 91 Metascore
    • 60 Peter Debruge
    Ida
    It’s one thing to set up a striking black-and-white composition and quite another to draw people into it, and dialing things back as much as this film does risks losing the vast majority of viewers along the way, offering an intellectual exercise in lieu of an emotional experience to all but the most rarefied cineastes.

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