For 386 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Peter Keough's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Menashe
Lowest review score: 12 Dangerous Men
Score distribution:
  1. Negative: 54 out of 386
386 movie reviews
    • 81 Metascore
    • 75 Peter Keough
    Raw
    When Ducournau keeps the viewer off balance and doesn’t lose her own, she shows signs of being an outstanding stylist and storyteller, balancing mood, composition, startling images, slow-burning suspense, and sardonic humor.
    • 66 Metascore
    • 75 Peter Keough
    The main reason it does not seem contrived is the performances of Catherine Deneuve and Catherine Frot. Because of their authenticity, and Provost’s mostly sure hand at maintaining mood and tone, the film is a moving immersion into the mysteries of time, memory, and mortality.
    • 71 Metascore
    • 75 Peter Keough
    Like “An Inconvenient Truth” (2006), the Oscar-winning film about climate change, it is a call to action. As a screed, it builds a credible, engaging argument, presenting evidence, statistics, talking-head testimony, whimsical charts, poignant personal stories, and animated illustrations of digestive processes to make its case.
    • 76 Metascore
    • 75 Peter Keough
    “Shadows” has its share of lines that will be repeated by fans ad infinitum (a favorite: “Yes, now Google it”).
    • 77 Metascore
    • 75 Peter Keough
    Kenner and Schlosser not only remind us of a danger that never went away, but honor the men whose bravery was never recognized.
    • 74 Metascore
    • 75 Peter Keough
    “So how are you going to get them to dance together?” Dancing never explains how. Instead, as in similar films such as “Hoop Dreams,” it focuses on the contest, reducing the participants to a handful of representative kids who end up learning something about themselves and others.
    • 71 Metascore
    • 75 Peter Keough
    A bittersweet, wryly comic, keenly observed look at senescence.
    • 70 Metascore
    • 75 Peter Keough
    Akerman, though, is her own best spokesperson as she discusses her films at locations where they were shot.
    • 75 Metascore
    • 75 Peter Keough
    Though at times it threatens to become too generic to be original, or too original to be generic, it retains enough indirection to frustrate those looking for thrills and to engage those willing to be challenged. And by the time the bottom drops out in a characteristically enigmatic ending, Night Moves distinguishes itself as a genuine Reichardt movie.
    • 71 Metascore
    • 75 Peter Keough
    Plá’s comedy is black, but his moral position isn’t black and white.
    • 76 Metascore
    • 75 Peter Keough
    Presents enough teasing glimpses into the dancer’s personal and inner life to demand a fuller picture.
    • 76 Metascore
    • 75 Peter Keough
    Unfortunately, Hatley chooses not to offer much context or background history regarding that or other aspects of Helm’s half-century career, other than archival footage of Helm and the Band in their prime, press clippings, and comments from the Band “biographer,” Barney Hoskyns.
    • 83 Metascore
    • 75 Peter Keough
    In this alternately whimsical and grim documentary, Zachary Heinzerling relates the couple’s down-and-out, inspiring saga, which slyly comments on the evolution and ironies of the past half century in contemporary art.
    • 87 Metascore
    • 75 Peter Keough
    A key point, though, is that all the scientists profiled have staked their careers on this one discovery.
    • 62 Metascore
    • 75 Peter Keough
    More than just a footnote to a wayward period of cultural history, The Source Family portrays an American type, the transcendent charlatan, a latter-day Gatsby, not of material riches but of the soul.
    • 65 Metascore
    • 75 Peter Keough
    Unlike “Belle,” however, in this case Asante does not allow her story to be overwhelmed by period decor and costumes.
    • 76 Metascore
    • 75 Peter Keough
    Bizarre, fascinating, and frustrating documentary.
    • 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.
    • 72 Metascore
    • 75 Peter Keough
    In Brad’s Status, Stiller becomes the face of white male privilege — and its comeuppance.
    • 71 Metascore
    • 75 Peter Keough
    Slowly it emerges that Gaga is Naharin’s “dance language,” a way of expressing one’s inner being through external movement. Gaga is dada — for dancers.
    • 54 Metascore
    • 75 Peter Keough
    The quest ends in a surprise Capra-esque resolution, which both satisfies and cloys.
    • 78 Metascore
    • 75 Peter Keough
    Those who don’t especially like cats — or Istanbul, for that matter — might not get a lot out of Turkish director Ceyda Torun’s love letter to the feline population of her native city. For everyone else, it should be an almost unadulterated pleasure.
    • 72 Metascore
    • 75 Peter Keough
    Jolie does not dwell on the atrocities, though a horrifyingly ironic battle scene near the end contains some gruesome imagery.
    • 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.

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