For 233 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Peter Keough's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Manuscripts Don't Burn
Lowest review score: 12 The Man on Her Mind
Score distribution:
  1. Negative: 38 out of 233
233 movie reviews
    • 72 Metascore
    • 50 Peter Keough
    As for the performances, only homely Giovana has heart and depth. The two boys lack chemistry, even in chemistry class, due in part to the trite dialogue, or at least as it is translated in subtitles.
    • 68 Metascore
    • 50 Peter Keough
    It’s a self-reflexive tour de force, laugh-out-loud in its outrageousness, a true gift from the Movie God, who, if not Tarantino, is in this case probably Sam Peckinpah. You just have to endure 90 minutes of inanity to get to enjoy it.
    • 30 Metascore
    • 50 Peter Keough
    It will also make them laugh. Intentionally or not, director Rob Cohen (“Alex Cross”) has put together the most hilarious camp classic since “White House Down” (2013).
    • 30 Metascore
    • 50 Peter Keough
    To its credit, despite a rough start (witch burning and all that), Seventh Son does not succumb to misogyny.
    • 63 Metascore
    • 50 Peter Keough
    Though it initially shows signs of overcoming its creakiness, “Capital” loses value when its screenwriters try too hard to be clever.
    • 62 Metascore
    • 50 Peter Keough
    In balancing the more objective cultural history of delis with a personal profile, Anjou serves neither well. Perhaps he should have chosen one course or the other.
    • 39 Metascore
    • 50 Peter Keough
    Has there been a more tormented or intense study of the ambivalence of revenge than Penn’s performance in Eastwood’s “Mystic River” (2003)? Penn might not agree with Eastwood’s politics, but when it comes to probing a killer’s soul he couldn’t find a better model.
    • 57 Metascore
    • 50 Peter Keough
    A sometimes clever but ultimately clichéd comedy.
    • 55 Metascore
    • 50 Peter Keough
    The duo provide a bit of wit and warmth amid the contrived subplots and the self-satisfied moralism.
    • 51 Metascore
    • 50 Peter Keough
    The film is engrossing and entertaining if sometimes trite and manipulative and totally bogus.
    • 67 Metascore
    • 50 Peter Keough
    Unfortunately, director Bill Condon and screenwriter Jeffrey Hatcher are clueless, and come up with an incoherent, implausible, contrived mishmash.
    • 52 Metascore
    • 50 Peter Keough
    In Dito Montiel’s treacly, programmatic film, Williams succumbs to a recurring neediness, earnestness, and sentimentality.
    • 56 Metascore
    • 50 Peter Keough
    Will miracles never cease? Alas, they do. Pausing pregnantly between clauses to add to their trite profundity, Quentin recites the moral of the story, and it’s as phony as the towns of the title.
    • 53 Metascore
    • 50 Peter Keough
    In the end, this feeble effort remains tainted, however unfairly, by the creator’s personal life. Maybe Allen should have titled it “Rationalizing Man.”
    • 38 Metascore
    • 50 Peter Keough
    No Escape is a tense but utterly predictable exercise in Western xenophobic paranoia and guilt.
    • 41 Metascore
    • 38 Peter Keough
    The problem with high concepts like this is cooking up a story and characters to go along with it.
    • 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?
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 38 Peter Keough
    What I found more disturbing was the casual misogyny of the convoluted story line.
    • 30 Metascore
    • 38 Peter Keough
    Though Zefferelli’s version was trashy and downright nuts, at least it made you feel the love. This pallid replay just seems endless.
    • 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.
    • 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.
    • 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.
    • 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.”
    • 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.
    • 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.
    • 46 Metascore
    • 38 Peter Keough
    A mawkish, preposterous melodrama riddled with clichés, stereotypes, bad dialogue, and inept emotional manipulation.
    • 47 Metascore
    • 38 Peter Keough
    Thunder falls into the common mistake of many children’s films — it underestimates its audience.

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