Peter Debruge

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For 585 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 1.5 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Wreck-It Ralph
Lowest review score: 0 Pretty Persuasion
Score distribution:
  1. Negative: 80 out of 585
585 movie reviews
    • 75 Metascore
    • 80 Peter Debruge
    Helmer Lenny Abrahamson (“Garage,” “Adam & Paul”) puts the pic’s eccentricity to good use, luring in skeptics with jokey surrealism and delivering them to a profoundly moving place.
    • 71 Metascore
    • 80 Peter Debruge
    Schemes like this have a way of spiraling out of the characters’ control, but Moland and Aakeson maintain a firm grasp on the pacing, progressively building both carnage and suspense as the situation escalates toward a Mexican standoff of which even Sam Peckinpah would be proud.
    • 59 Metascore
    • 80 Peter Debruge
    Hoping to do for flesh-eaters what "The Twilight Saga" did for vampires, albeit on a smaller scale, writer-director Jonathan Levine spins Isaac Marion's novel into a broadly appealing date movie about a zombified Romeo and his lively Juliet.
    • 80 Metascore
    • 80 Peter Debruge
    The documentary broadens well beyond a portrait of this particular facility to address the underlying causes of these crimes and to question how society might more constructively deal with the issues, where offering counseling to abuse victims becomes as important as, if not more so than, persecuting their abusers.
    • 72 Metascore
    • 80 Peter Debruge
    Alleluia may be a remake, but its somber look couldn’t be more original — all the better for the film to spring its nasty surprises on auds, none more unexpected than the way certain shots remain seared into one’s subconscious in the days and weeks that follow.
    • 75 Metascore
    • 80 Peter Debruge
    Operation Avalanche demonstrates that there’s still plenty of room left within the found-footage format to craft fresh, high-concept projects, regardless of the fact that no one’s falling for their alleged authenticity any longer.
    • 74 Metascore
    • 80 Peter Debruge
    For Guadagnino, it’s not the characters’ fates that matter so much as their dynamics, which Kajganich and the director manipulate with the sort of take-no-prisoners attitude typically reserved for theater, pushing the entire ensemble to their full potential.
    • 80 Metascore
    • 80 Peter Debruge
    Despite all that it withholds, The Strange Little Cat ultimately proves a far more revealing form of family portrait.
    • 64 Metascore
    • 80 Peter Debruge
    Racy subject aside, the film provides a good-humored yet serious-minded look at sexual self-liberation, thick with references to art, music, religion and literature, even as it pushes the envelope with footage of acts previously relegated to the sphere of pornography.
    • 70 Metascore
    • 80 Peter Debruge
    Often poignant, occasionally pathetic, but never short of entertaining, Raiders! captures the obsessive hold movies have on young people’s imaginations.
    • 68 Metascore
    • 80 Peter Debruge
    Using Baltimore’s dirt-bike groups as its entry point, the film offers a remarkable grassroots look at how the system is broken at the inner-city level.
    • 76 Metascore
    • 80 Peter Debruge
    A spunky yet surprisingly sad portrait of a sexually liberated man held captive by his past, forever chasing and trying to rewrite his own legend.
    • 74 Metascore
    • 80 Peter Debruge
    Despite his movie-star reputation and looks, Mortensen remains a remarkably humble screen presence, a trait that’s perfect for a part that demands considerable empathy from whoever’s playing it.
    • 60 Metascore
    • 80 Peter Debruge
    The Wolverine boasts one of the best pulp-inspired scripts yet. It’s still full of corny dialogue...but there’s a genuine elegance to the way it establishes Logan’s tortured condition and slowly brings the character around to recovering his heroic potential, methodically setting up and paying off ideas as it unfolds.
    • 79 Metascore
    • 80 Peter Debruge
    Pavich does an admirable job tracking down surviving parties (except for the suspicious-sounding cast), opting for a humorous rather than indignant tone to the interviews.
    • 68 Metascore
    • 80 Peter Debruge
    Ultimately, the mock-doc device works because Gyllenhaal and Pena so completely reinvent themselves in-character. Instead of wearing the roles like costumes or uniforms, they let the job seep into their skin, a feat without which "End of Watch's" pseudo-reality never would have worked.
    • 60 Metascore
    • 80 Peter Debruge
    The source material may be David Sedaris (this marks the first time the essayist has allowed one of his pieces to be adapted), but the tone couldn’t be more Kyle Patrick Alvarez, who once again steers auds to some gloriously uncomfortable places.
    • 81 Metascore
    • 80 Peter Debruge
    Shooting in sleek 35mm, Franz and Fiala have dreamt up a home-invasion scenario where the aggressors lived there all along.
    • 60 Metascore
    • 80 Peter Debruge
    It’s one thing to declare sex a fact of life and insist that audiences confront their unease at seeing it depicted (or, equally constructive, their intense excitation at its mere mention), but quite another to fashion a fictional woman’s life around nothing but sex. As courageously depicted by Gainsbourg, Jo is ultimately a tragic character.
    • 83 Metascore
    • 80 Peter Debruge
    Phil Lord and Christopher Miller irreverently deconstruct the state of the modern blockbuster and deliver a smarter, more satisfying experience in its place, emerging with a fresh franchise for others to build upon.
    • 62 Metascore
    • 80 Peter Debruge
    This explosive reunion between Damon and director Paul Greengrass further reveals key secrets about Bourne’s origins, bringing its lethal protagonist as close as he’s ever likely to get to total recall.
    • 65 Metascore
    • 80 Peter Debruge
    The story distinguishes itself from other anime offerings through its attention to both visual and emotional realism.
    • 60 Metascore
    • 80 Peter Debruge
    While the plot — too low-key to be called a thriller — points toward obvious extramarital cliches, delicate changes in the overall mood reveal deeper truths.
    • 74 Metascore
    • 80 Peter Debruge
    Slow as molasses but every bit as rich.
    • 72 Metascore
    • 80 Peter Debruge
    Ross doesn’t run from the resulting sentimentality the way so many other directors do; nor does he undercut it with irony or sarcasm as has become the regrettable tendency in independent cinema.
    • 53 Metascore
    • 80 Peter Debruge
    Apart from the heavy debt it owes to Malick’s oeuvre, Edwards’ entrancing debut is radically non-generic, either as history film and coming-of-age piece.
    • 62 Metascore
    • 80 Peter Debruge
    A film that lays emotions on the line and then drives them home with music.
    • 72 Metascore
    • 80 Peter Debruge
    More inspired by than adapted from Juan Mayorga’s play “The Boy in the Last Row,” this low-key thriller feels like a return to form for Ozon, whose pictures lost their psychosexual edge after the helmer stopped collaborating with Emmanuele Bernheim (“Swimming Pool”).
    • 83 Metascore
    • 80 Peter Debruge
    The helmer shows exquisite control of the world he has created.
    • 77 Metascore
    • 80 Peter Debruge
    Of all living actresses, only Huppert could capture nuances that alternately elicit sympathy and fierce sexual attraction to a recent stroke victim.

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