For 214 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Peter Keough's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Overnighters
Lowest review score: 12 The Man on Her Mind
Score distribution:
  1. Negative: 38 out of 214
214 movie reviews
    • 29 Metascore
    • 38 Peter Keough
    Though not everyone agrees, Ben Stiller’s “The Secret Life of Walter Mitty” came close to finding the secret for making a movie about the secret of happiness. Peter Chelsom’s Hector and the Search for Happiness tries hard, but fails. Miserably.
    • 28 Metascore
    • 38 Peter Keough
    It’s a Christmas nightmare, stuck with two obnoxious relatives who think they’re funny, and won’t shut up.
    • 40 Metascore
    • 38 Peter Keough
    One hopes that, for their own good, when any of these actors are offered a script like this again, they’ll have the sense to just say no.
    • 53 Metascore
    • 38 Peter Keough
    The fundamental value put forth in Brown’s “Sunday” sequel is not fearlessness but “family.”
    • 55 Metascore
    • 38 Peter Keough
    It’s just like the Kenny Rogers song says: “You’ve got to know when to hold ’em, know when to fold ’em.” It’s time for this Gambler to walk away.
    • 54 Metascore
    • 38 Peter Keough
    The young cast comes through with appealing, naturalistic performances. But Weber’s programmatic, preachy story and emotional manipulation is so blatant that it verges on the fatuous.
    • 50 Metascore
    • 38 Peter Keough
    Aside from the clever punning of the title, Spare Parts ends up as jury-rigged and programmatic as Stinky, the robot in the movie. And, unlike Stinky, it is dead in the water.
    • 47 Metascore
    • 38 Peter Keough
    Thunder falls into the common mistake of many children’s films — it underestimates its audience.
    • 33 Metascore
    • 38 Peter Keough
    It tries to bridge the gap between pop culture and cultural elitism, between high art and the common commodity that everyone else buys tickets to see. A worthy goal, but it results in a movie that has none of the virtues of either.
    • 32 Metascore
    • 38 Peter Keough
    Almost all mainstream movies steal from other movies, but the better ones get away with it because they possess some distinctive identity. The best that Ken Scott’s Unfinished Business can come up with is Vince Vaughn — as the straight man.
    • 67 Metascore
    • 38 Peter Keough
    Unfortunately, though, Rossato-Bennett and Cohen seem to think that the technique is a panacea. In fact, it is not even original, as music therapy in nursing homes has been around for some time.
    • 64 Metascore
    • 38 Peter Keough
    Puzzle is neither puzzling nor much fun. It reminds you how much better Julie Delpy told the same story in “2 Days in New York.”
    • 56 Metascore
    • 38 Peter Keough
    For the most part, Fluffy’s material is just that — fluff, with a touch now and then of bile and bad taste.
    • 57 Metascore
    • 38 Peter Keough
    More disappointing than the film’s inertia and amorphousness is its sacrifice of the real-world themes of class, money, corruption, and power. Unable to decide what story he wanted to tell, Téchiné hedges his bets and loses everything.
    • 30 Metascore
    • 38 Peter Keough
    The film is so bizarre, contrived, manipulative, and meretricious that anything is possible.
    • 49 Metascore
    • 38 Peter Keough
    Here Aniston suffers every manipulative cliché and contrivance in the tearjerker playbook. She works hard, and it’s painful to watch.
    • 66 Metascore
    • 38 Peter Keough
    If nothing else, Beloved Sisters is one of the most visually striking biopics around. Too bad you have to wade through so much verbiage in order to enjoy it.
    • 54 Metascore
    • 38 Peter Keough
    It’s a big deal for the NFL and ESPN, no doubt, and Draft Day serves as 110 minutes of product placement for both.
    • 29 Metascore
    • 38 Peter Keough
    Isn’t fate a funny thing? Especially when Nicholas Sparks makes it up. Filmmakers love to adapt his stuff because he puts together narratives riddled with contrived coincidences and implausibilities meant to seem like the workings of providence when in fact they are the creations of a hackneyed mind.
    • 34 Metascore
    • 38 Peter Keough
    “You don’t need a man to define you!” Very true, and so much for feminism. The rest of the film takes a long, convoluted, predictable, and mostly unfunny route to prove that the opposite is the case.
    • 74 Metascore
    • 38 Peter Keough
    Joe
    Joe is one more in the line of Southern Gothic miserabilism that includes “Winter’s Bone” and “Beasts of the Southern Wild,” films that many have praised but some find condescending.
    • 41 Metascore
    • 38 Peter Keough
    The problem with high concepts like this is cooking up a story and characters to go along with it.
    • 24 Metascore
    • 38 Peter Keough
    If you close your eyes you’d think it was a commercial for a “Great Love Songs” DVD collection.
    • 19 Metascore
    • 38 Peter Keough
    Grown Ups 2 offers a bittersweet paean to childhood and youth and their inevitable loss. Take the case of Adam Sandler. Didn’t he use to be funny?
    • 51 Metascore
    • 38 Peter Keough
    This movie doesn’t make the case. In fact, had they upped the absurdity a notch, it would rival the comedy of Christopher Guest’s let’s-put-on-a-show mockumentary, “Waiting for Guffman” (1996). As it stands, it plays like an infomercial.
    • 32 Metascore
    • 25 Peter Keough
    One thing you have to give Bay credit for: He has a knack for bringing A-list talent down to his level. Like Mark Wahlberg, Oscar nominee for “The Fighter” and “The Departed.”
    • 30 Metascore
    • 25 Peter Keough
    Despite such attractions as Gabriel Byrne as a vampire with a skin disease and a décor that combines Hogwarts with “Suspiria,” the only lesson learned here is that Hollywood needs fresh blood.
    • 48 Metascore
    • 25 Peter Keough
    Somewhere between John Cassavetes’s “Husbands” (1970) and “The Hangover” (2009) you will find Last Vegas. Not necessarily a bad place to be, except the film unfortunately has the madcap hilarity of the former and the emotional intensity of the latter.
    • 38 Metascore
    • 25 Peter Keough
    The film is stuck in the inconsequential rut of the series. The characters are static, and the comedy is situational rather than dramatic.
    • 57 Metascore
    • 25 Peter Keough
    Misogynistic, homophobic, scatological — none of these words come up in any of the spelling bees that take place in Jason Bateman’s directorial debut, but they apply to the film.

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