For 349 reviews, this critic has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 2.7 points higher than other critics. (0-100 point scale)

Peter Keough's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Anomalisa
Lowest review score: 12 Hell Baby
Score distribution:
  1. Negative: 50 out of 349
349 movie reviews
    • 74 Metascore
    • 75 Peter Keough
    Their non-specific excursion unfolds like a blithe Woody Allen movie without all the name-dropping.
    • 80 Metascore
    • 75 Peter Keough
    Tweel has edited this material into a complex and emotionally exhausting vérité-like tapestry.
    • 54 Metascore
    • 75 Peter Keough
    The quest ends in a surprise Capra-esque resolution, which both satisfies and cloys.
    • 53 Metascore
    • 75 Peter Keough
    Green’s narrative confidence quickly kicks in, as well as the sharp dialogue by screenwriter Peter Straughan (“Tinker Tailor Soldier Spy”). More importantly, the film indulges in the unabashed goofiness that stoked Green’s “Pineapple Express,” and which Sandra Bullock demonstrated to raucous effect in “The Heat.”
    • 54 Metascore
    • 63 Peter Keough
    Including the high expectations set up by the film’s early going, Eubank had a thoughtful thriller in the works but along the way he got his signals crossed.
    • 38 Metascore
    • 63 Peter Keough
    Think Like a Man Too vastly surpasses the septic “The Hangover Part III.” If Story and company keep thinking like filmmakers, maybe three will be the charm.
    • 65 Metascore
    • 63 Peter Keough
    For answers, prepare to sit through two hours of complications, though you will probably figure it out before the spectacular ending.
    • 66 Metascore
    • 63 Peter Keough
    Engrossing and occasionally moving, it doesn’t electrify like that other film about the press taking on a chief executive, Alan Pakula’s “All the President’s Men” (1976).
    • 52 Metascore
    • 63 Peter Keough
    In other words, Citizen Koch is preaching to the choir. Which might not be a pointless exercise, seeing how the choir failed to show up for the last midterm election in 2010, and might need extra motivation not to repeat that mistake this November.
    • 72 Metascore
    • 63 Peter Keough
    Visually, this translates into thrilling action sequences of lone knife-wielders hewing down ranks of adversaries with balletic precision. If preserving this means sacrificing a scruple or two, it’s worth the trade.
    • 73 Metascore
    • 63 Peter Keough
    A bittersweet musing about the nature of parenthood and about the conflict between nature and nurture, it is as banal and insightful as its title.
    • 71 Metascore
    • 63 Peter Keough
    It is epic in scope, intimate in detail, and otherworldly in its dimensions, like the Bayeux Tapestry with special effects and a stentorian soundtrack.
    • 50 Metascore
    • 63 Peter Keough
    Though Mazer’s ambition is laudable, he has not yet integrated the comedy of manners into the comedy of no manners.
    • 69 Metascore
    • 63 Peter Keough
    Powell never achieves the absurdist, uncanny poetry of that scene in Herzog’s film where a “demented” penguin marches into oblivion, but he does arouse wonder at nature’s sublimity.
    • 65 Metascore
    • 63 Peter Keough
    Though it touches on the usual themes of youthful innocence and imagination challenged by misfortune, and on occasion achieves moments of supremely subtle, sublimely exquisite detail, “Momo” strains when it comes to evoking whimsy and magic.
    • 72 Metascore
    • 63 Peter Keough
    Though admirable in ambition, McGowan’s decision to broaden his simple story’s scope diminishes an affecting melodrama about the increasingly common, insufficiently acknowledged plagues of dementia and Alzheimer’s disease.
    • 57 Metascore
    • 63 Peter Keough
    Although Raymond’s career extended over five decades of London sleaze, decadence, and celebrity, neither director nor actor provide much insight into the man or his times, not to mention the significance of Raymond’s prime product.
    • 56 Metascore
    • 63 Peter Keough
    Flawed as it is, “River” reminds us where all the great music came from.
    • 75 Metascore
    • 63 Peter Keough
    Lawrence is an impeccable, commanding subject, not just because of his credentials but because of his presence and demeanor.
    • 75 Metascore
    • 63 Peter Keough
    Unlike the Makioka sisters, this quartet lack ambiguity and mystery.
    • 52 Metascore
    • 63 Peter Keough
    It’s like a Parisian variation on Nicole Holofcener’s “Please Give,” or the premise of another PBS Masterpiece Theater series with Smith.
    • 37 Metascore
    • 63 Peter Keough
    Kevin Costner should stop trying to be so nice. His best performances have been as baddies.
    • 72 Metascore
    • 63 Peter Keough
    Campos really doesn’t need to tack on such heavy-handed irony as the scene near the end of a disconsolate woman eating ice cream and singing along with the theme song of “The Mary Tyler Moore Show.”
    • 85 Metascore
    • 63 Peter Keough
    Subtlety and irony are not among the film’s virtues.
    • 63 Metascore
    • 63 Peter Keough
    It answers most questions by the end, except the most important one: Is the devil in Miss Sloane, or is Miss Sloane the devil?
    • 62 Metascore
    • 63 Peter Keough
    Visitors is lovely, soothing, like the cinematic equivalent of tasteful elevator music, but it doesn’t convey as much truth as a single glimpse into Triska’s eyes.
    • 73 Metascore
    • 63 Peter Keough
    Enigmatic, atmospheric, and seductive, the film unfortunately sheds little light on subjects that have too long been hidden in the dark.
    • 41 Metascore
    • 63 Peter Keough
    More spectacular special effects might have helped, or at least something more creative than a spaceship that resembles a giant Christmas tree ornament shaped like a corkscrew. Perhaps as a well-written play for a cast of three, Passengers might have been first class. Instead, it’s just another mediocre thrill ride.
    • 63 Metascore
    • 63 Peter Keough
    The film works adequately as a historical drama.
    • 64 Metascore
    • 63 Peter Keough
    John Landis’s “Animal House” (1978) this is not.

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