Peter Travers
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For 2,305 reviews, this critic has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 5 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Crimes and Misdemeanors
Lowest review score: 0 Jack and Jill
Score distribution:
2,305 movie reviews
    • 43 Metascore
    • 38 Peter Travers
    What have you done to The Wolfman, Hollywood? It’s got no kick to it. No fun either. And no real scares, which is more unforgivable.
    • 34 Metascore
    • 38 Peter Travers
    Jeez, did the "surprise" climax have to be this eye-rollingly stupid?
    • 32 Metascore
    • 38 Peter Travers
    First-time director and screenwriter Hue Rhodes shows no discernible talent for dialogue, humor and, especially, pacing.
    • 47 Metascore
    • 38 Peter Travers
    No trite, tear-jerking cliché goes undrooled in the script by director Kirk Jones.
    • 43 Metascore
    • 38 Peter Travers
    Jammed with story threads that don’t cohere, Cirque commits the cardinal sin for a vampire movie: It’s bloodless.
    • 51 Metascore
    • 38 Peter Travers
    The infuriating cop–out ending reduces the premise to mush. I wanted to scream. Here goes: Arghh!
    • 57 Metascore
    • 38 Peter Travers
    This afternoon-TV special trying to pass as a real movie earns an extra half star solely for Samuel L. Jackson, who brings his usual fire to the role.
    • 50 Metascore
    • 38 Peter Travers
    A borrowed idea -- hello, "Blade Runner," hi there, "Matrix" -- but an idea nonetheless.
    • 49 Metascore
    • 38 Peter Travers
    It's not just that Jennifer Lopez looks lost and out of her league acting with Robert Redford and Morgan Freeman. That's to be expected. It's the drag-ass solemnity of this turgid family drama that makes you crazy.
    • 32 Metascore
    • 38 Peter Travers
    Political satire is so rare that it's a shame to watch the reliable Ralph Fiennes and Donald Sutherland lend their talents to one that is blind to its own incompetence.
    • 58 Metascore
    • 38 Peter Travers
    It's not so bad that it's good. It's so bland that it's boring. Not even worth a hissss.
    • 37 Metascore
    • 38 Peter Travers
    Overthought, overwrought and thuddingly underwhelming, this high-profile misfire makes a congealed gumbo out of Robert Penn Warren's Pulitzer-winning 1946 novel and the Oscar-winning 1949 movie that followed it, sinking a classy cast in the goo.
    • 49 Metascore
    • 38 Peter Travers
    Shopworn propaganda.
    • 52 Metascore
    • 38 Peter Travers
    Offensive on multiple levels -- if only the plot had any levels at all -- Black Snake Moan leaves no "Tobacco Road" cliche unsmoked. Ricci gives it her all, and then some, but even her body and Jackson's blues can't heal a movie that rockets plum off its nut.
    • 61 Metascore
    • 38 Peter Travers
    Veering between sentimentality and exploitation with a few misguided stops at raunchy sex farce, Reign Over Me never finds a tone to suit its purpose.
    • 43 Metascore
    • 38 Peter Travers
    I laughed, then I wished it was funnier, then I just wished it would end.
    • 51 Metascore
    • 38 Peter Travers
    Me, I just think it blows. What does it matter if you spend millions on a movie - love the talking, battling bears! - if the effects are cheesy, the story runs off on tangents and after watching the movie fail utterly to be the next Lord of the Rings, you just want to go home.
    • 40 Metascore
    • 38 Peter Travers
    By the end, Vantage Point is such a unholy mess of drooling sentiment and sloppy loose ends that you’ll hate yourself for being suckered in.
    • 48 Metascore
    • 38 Peter Travers
    Penelope is dead on arrival.
    • 32 Metascore
    • 38 Peter Travers
    Don't hammer this film for trying to get inside the head of Mark David Chapman before he shot John Lennon outside the rock legend's New York apartment on December 8th, 1980. Hammer it instead for failing to do so with any depth or insight.
    • 36 Metascore
    • 38 Peter Travers
    If you don't see where this is going, you've never seen a movie. Sorry it had to be this one.
    • 43 Metascore
    • 38 Peter Travers
    Questions: Did everyone involved in this botched thriller OD on speed? Does jimmy-legs director D.J. Caruso think if he slowed down the action we'd figure out how stupid the plot is?
    • 53 Metascore
    • 38 Peter Travers
    Watching the stars try to out-cutesy the mutt is one for the puke bucket.
    • 47 Metascore
    • 38 Peter Travers
    Here's a true S&M date movie. Only sadistic men and masochistic women could love it.
    • 32 Metascore
    • 38 Peter Travers
    Will Ferrell and Danny McBride can find the dumb fun in anything. Too bad that Land of the Lost is so much less than anything.
    • 42 Metascore
    • 38 Peter Travers
    The money shots of the living tableau are padded with jokes that feel embalmed before the actors get them out of their mouths.
    • 48 Metascore
    • 38 Peter Travers
    Satire in a blanket of bland.
    • 50 Metascore
    • 38 Peter Travers
    What the film lacks is suspense, surprise (the new ending is a dud) and passion.
    • 63 Metascore
    • 38 Peter Travers
    Even director Carl Franklin, an artful purveyor of sterner stuff in "One False Move" and "Devil in a Blue Dress," can't prevent One True Thing from descending into chick-movie hell.
    • 52 Metascore
    • 38 Peter Travers
    Though saddled with hoary jokes, Goldberg at least pumps some funky life into the bland proceedings.
    • 43 Metascore
    • 38 Peter Travers
    A movie about death that stubbornly refuses to come to life.
    • 52 Metascore
    • 38 Peter Travers
    Con Air has all the signs of a hit. That's depressing.
    • 59 Metascore
    • 38 Peter Travers
    The movie, however, is a crock.
    • 58 Metascore
    • 38 Peter Travers
    Director Sydney Pollack zapped out a taut thriller in "Three Days of the Condor". But The Firm is mostly flab, in the manner of Pollack's elephantine Havana.
    • 66 Metascore
    • 38 Peter Travers
    The film wants to make a case for Parker as the first modern woman. It gets the look and the attitude right, but it can't find her heart.
    • 45 Metascore
    • 38 Peter Travers
    Kasdan has inexplicably reduced flesh-and-blood characters to cartoons.
    • 48 Metascore
    • 38 Peter Travers
    Buffy isn't heinous, just disposable. As a friend tells Buffy while she eyes a fashion purchase, "It's so five minutes ago."
    • 53 Metascore
    • 38 Peter Travers
    This big-screen Hamlet, pumped up to operatic scale by overkill director Franco Zeffirelli, exposes Gibson's shortcomings.
    • 35 Metascore
    • 38 Peter Travers
    It's the Bay touch you feel in the way actors register as body count, characters go undeveloped, and sensation trumps feeling. A nightmare, indeed.
    • 45 Metascore
    • 38 Peter Travers
    So why oh why is The Expendables such a limp-dick bust? Because Stallone forgets to include non-spazzy direction, a coherent plot, dialogue that actors can speak without cringing, stunts that don't fizzle, blood that isn't digital and an animating spirit that might convince us to give a damn.
    • 60 Metascore
    • 38 Peter Travers
    What Dick rendered potent, Nolfi renders preposterous.
    • 51 Metascore
    • 38 Peter Travers
    A sappy-sweet romcom that seems to have been invaded by a screenwriter - one Geoff LaTulippe - with delusions that he's David Mamet.
    • 52 Metascore
    • 38 Peter Travers
    It's damn hard to enjoy a thriller when you don't, won't, can't believe a word of it.
    • 43 Metascore
    • 38 Peter Travers
    I found myself wishing that Taymor would turn off the sound and fury and let The Tempest speak for itself. My wish wasn't granted.
    • 44 Metascore
    • 38 Peter Travers
    Patrick Lussier is listed as The Director, though I saw no evidence of anyone in control.
    • 33 Metascore
    • 38 Peter Travers
    Looks aren't everything. Case in point: Sucker Punch, a dazzling visual design that goes tone-deaf every time it opens its dumb mouth or makes claims to profundity.
    • 31 Metascore
    • 38 Peter Travers
    A trio of appealing actors is trapped in an action-spiked romcom death-sentenced by a lack of humor, heart and a coherent reason for being.
    • 43 Metascore
    • 38 Peter Travers
    The Vow is a sopping hankie of a romance for women who love to suffer and the men who love them.
    • 42 Metascore
    • 38 Peter Travers
    The movie deserves a stake through the heart.
    • 46 Metascore
    • 38 Peter Travers
    I've been told the movie plays best with very young girls. That's an insult very young girls should not be forced to endure.
    • 41 Metascore
    • 38 Peter Travers
    Morning sickness afflicts most of the potential mommies. For me, the movie itself triggered the vomiting.
    • 36 Metascore
    • 38 Peter Travers
    There's no thrill in Gone because you can see every surprise coming. It lies there flapping like a dying fish. Skip it.
    • 35 Metascore
    • 38 Peter Travers
    The Host basically comes down to a vote for Team Jared or Team Ian. I voted myself into oblivion about half an hour in. Niccol, who once added mystery and suspense to the sci-fi of 1997's "Gattaca," is no match for the giant marshmallow that is The Host.
    • 36 Metascore
    • 38 Peter Travers
    Then there's the movie itself, which should be crazy, stupid fun but settles for just stupid.
    • 50 Metascore
    • 38 Peter Travers
    I left this movie feeling I’d been had. And not in a good way.
    • 49 Metascore
    • 38 Peter Travers
    Another January dud. Broken City drops hot-shot actors in a quicksand of clichés and watches them sink.
    • 44 Metascore
    • 38 Peter Travers
    Magicians have been pulling rabbits out of hats for ages. And yet, with all this talent, no one can make a decent script materialize.
    • 42 Metascore
    • 38 Peter Travers
    With that cast, we rightfully expect fireworks. What we get is the film equivalent of a wet blanket.
    • 30 Metascore
    • 38 Peter Travers
    What happened, bitches? Didn't the letdown of The Hangover Part II – basically Part I set in Thailand but minus the laughs – teach you anything? Guess not.
    • 56 Metascore
    • 38 Peter Travers
    Jolie comes to this party ready to bite, but the movie muzzles her. Even at 97 minutes, Maleficent is still one long, laborious slog.
    • 39 Metascore
    • 38 Peter Travers
    There's nothing to distract you from a plot so tired there are tire tracks from other racing movies all over it.
    • 48 Metascore
    • 38 Peter Travers
    Except for Kate Winslet's fearsome turn as a villain, the only terror Divergent roused in me was that the drag-ass thing would never end. Sorry, I'm a Candor.
    • 49 Metascore
    • 38 Peter Travers
    What's onscreen feels squeezed, truncated and curiously embalmed. It's got no kick to it.
    • 47 Metascore
    • 38 Peter Travers
    Director Brett Ratner could boast solid source material in the five-issue Radical Comics series Hercules: The Thracian Wars by the late Steve Moore. They had a shot at something here, and they blew it.
    • 53 Metascore
    • 38 Peter Travers
    Is a Brian DePalma movie that laughs at Brian De Palma movies still worth your time?
    • 38 Metascore
    • 38 Peter Travers
    If you laughed at Tim Story's first "Think," based on Steve Harvey's bestselling advice book for women, you'll probably ride along for this jacked-up, Vegas-set sequel in which dudes and dolls offer sexist approaches to throwing a bachelor party.
    • 36 Metascore
    • 38 Peter Travers
    The compensation comes in the three lead actors, all way too good for the material dished out by writer-director Tom Gormican.
    • 37 Metascore
    • 38 Peter Travers
    Working from a script by the gifted Christopher Hampton (Dangerous Liaisons, Atonement), who seems to have traded his wit for a paycheck, Fontaine manages the trick of making sex joyless. Like porn. Then she tops that by draining her film of variety, longing and feminist insight. Like farce. Ouch.
    • 51 Metascore
    • 38 Peter Travers
    Sadly, what Parkland becomes is a crying shame.
    • 30 Metascore
    • 38 Peter Travers
    This Endless Love is a photo shoot, not a movie. It'd play better as a slideshow of jpgs. Even nine-year-old girls ought to cry foul on this movie's endless blandness.
    • 37 Metascore
    • 38 Peter Travers
    Propaganda is a bitch to act. And this misguided movie leaves Hudgens buried in it.
    • 44 Metascore
    • 38 Peter Travers
    This comedy about a death is a funeral for the audience.
    • 47 Metascore
    • 38 Peter Travers
    Lowry took chances with her novel. The movie of The Giver takes none. It's safe, sorry and a crashing bore.
    • 40 Metascore
    • 30 Peter Travers
    Judd is slumming again in ths lame suspense yarn that could barely pass as a TV quickie without the bankable names of Judd, Tommy Lee Jones and director Bruce Beresford.
    • Rolling Stone
    • 36 Metascore
    • 30 Peter Travers
    The kind of movie that TV stars do when they're on hiatus and trying to squeeze one in.
    • Rolling Stone
    • 36 Metascore
    • 30 Peter Travers
    Trash.
    • Rolling Stone
    • 45 Metascore
    • 30 Peter Travers
    Slack direction fails to touch a nerve. Martin was scarier and funnier extracting Bill Murray's molars without Novocaine in "Little Shop of Horrors." Now that was one crazy dentist.
    • 62 Metascore
    • 30 Peter Travers
    A fine case ... but none weighty enough to keep this fluff from evaporating as you watch it.
    • Rolling Stone
    • 49 Metascore
    • 30 Peter Travers
    Makes you gag.
    • 52 Metascore
    • 30 Peter Travers
    This mumbo-jumbo plays like The X Files on Prozac. No wonder the actors look narcotized.
    • 30 Metascore
    • 30 Peter Travers
    Off the shelf after two years to capitalize on the popularity of Vin Diesel, Seth Green and Barry Pepper. It should have stayed there.
    • 38 Metascore
    • 30 Peter Travers
    Even a search party would be hard-pressed to find a spark between Harrison Ford and Kristin Scott Thomas in Pollack's latest tear-jerker.
    • Rolling Stone
    • 33 Metascore
    • 30 Peter Travers
    Plods along in the Oscar-winning, yawn-inducing tradition of "Out of Africa," making me yearn for something less "National Geographic."
    • Rolling Stone
    • 50 Metascore
    • 30 Peter Travers
    The true story of the LaMarcas, well told by the late Mike McAlary in Esquire, has been pounded into TV-crime mush by screenwriter Ken Hixon and director Michael Caton-Jones. Shockingly, the acting doesn't help.
    • 40 Metascore
    • 30 Peter Travers
    The self-congratulatory histrionics of Williams, lower lip trembling as he triumphs over torture in the name of the human spirit, represents a trend in Hollywood to make accessible melodrama out of unspeakable tragedy.
    • Rolling Stone
    • 28 Metascore
    • 30 Peter Travers
    Contrived, manipulative and shamelessly sentimental, this film is notable for the courageous reach of Sean Penn, who gives a bold, heartfelt performance.
    • 36 Metascore
    • 30 Peter Travers
    Crossing "A Beautiful Mind" with "Sex Kittens Go to College," first-time director Stephen Gaghan (he wrote Traffic) causes a head-on collision.
    • 41 Metascore
    • 30 Peter Travers
    Cruz is a dish, but her movie is as soggy and indigestible as Styrofoam.
    • Rolling Stone
    • 65 Metascore
    • 30 Peter Travers
    Even with sex, drugs, hip-hop and a murder, these four stories are dull, dull, dull, dull.
    • Rolling Stone
    • 36 Metascore
    • 30 Peter Travers
    It's sledgehammer whimsy, and it's not talking to me.
    • Rolling Stone
    • 34 Metascore
    • 30 Peter Travers
    What DePalma has never made is a dull movie. Until now.
    • Rolling Stone
    • 48 Metascore
    • 30 Peter Travers
    For the first time, the Farrellys seem to be embarrassed by their own crudeness. For the first time, they should be.
    • 58 Metascore
    • 30 Peter Travers
    Rob Cohen, who last directed "The Skulls" --ouch! -- can consider this one another career-killing skid mark.
    • 33 Metascore
    • 30 Peter Travers
    Slick-dick director Simon West, of "Con Air" and "The General's Daughter" infamy, continues to show no flair at all for blending action and character. Jolie and Lara deserved better. So did we.
    • 40 Metascore
    • 30 Peter Travers
    There's a strong movie in this life, but writer-director Leon Ichaso ("Sugar Hill") hasn't found it.
    • 27 Metascore
    • 30 Peter Travers
    It's soft-core pap for horny boys and their hornier dads.
    • Rolling Stone
    • 55 Metascore
    • 30 Peter Travers
    Despite melodramatic lapses -- the gripping action recalls Walter Hill's 1981 "Southern Comfort" -- this is Schumacher's most ambitions film since "Falling Down" in 1993, and it plays to his strengths with young actors.
    • Rolling Stone
    • 66 Metascore
    • 30 Peter Travers
    Good-natured fun when it isn't stale, which is most of the time, this talky comedy set in a Chicago barber shop is a sitcom pilot disguised as a movie.
    • 35 Metascore
    • 30 Peter Travers
    Something lazy, slow, shallow, stupid, amateurish, unfunny, unsuspenseful, uninformed, unspeakably dull and witlessly written, directed and acted (the special effects suck, too).
    • 44 Metascore
    • 30 Peter Travers
    Chockablock with things we're not supposed to notice: that Roberts is wasted; that she and Cusack have no characters to play, so it's virtually impossible to understand why she loves him or vice versa; that the script provides comedy without bite and romance without resonance.