Peter Travers
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For 2,437 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 4.8 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Nurse Betty
Lowest review score: 0 All About Steve
Score distribution:
2,437 movie reviews
    • 61 Metascore
    • 50 Peter Travers
    Cage works hard to find traces of humanity in a man that God forgot, as do screenwriter Steven Conrad and director Gore Verbinski. But in the face of a character no one cares about, can audiences be faulted for asking: Why should we?
    • 44 Metascore
    • 50 Peter Travers
    Cusack captures that desperation vividly enough to make you wish this was the real Poe story, which The Raven onscreen leaves buried alive.
    • 46 Metascore
    • 50 Peter Travers
    Saw
    It's gross as hell.
    • 45 Metascore
    • 50 Peter Travers
    The movie is such a chore because watching actors strain to wrap their mouths around prerecorded songs for 134 minutes is irritating and, worse, alienating.
    • 36 Metascore
    • 50 Peter Travers
    Spade goes sweet and gooey. This is nucking futs.
    • 50 Metascore
    • 50 Peter Travers
    The good news first: Keith Richards totally rocks it playing pirate daddy to Johnny Depp's Capt. Jack Sparrow. The deep rumble of his voice and those hooded eyes that narrowly open like the creaky gates of hell make him what the rest of this three-peat is not: authentically scary...So what's the bad news? Richards is onscreen for barely two minutes.
    • 45 Metascore
    • 50 Peter Travers
    I can see why Fast and Furious might be a smash as audiences look for escape from a broken economy. All those wheelies and power slides are designed to obliterate thought, not provoke it. Talk about a movie for its time.
    • 55 Metascore
    • 50 Peter Travers
    Curtis ladles sugar over the eager-to-please Love Actually to make it go down easy, forgetting that sometimes it just makes you gag.
    • 55 Metascore
    • 50 Peter Travers
    Anne Hathaway and Jake Gyllenhaal are hotties with talent. And they maneuver through the daunting maze of shifting tones and intersecting plots of Love and Other Drugs like the pros they are.
    • 40 Metascore
    • 50 Peter Travers
    It gives me no pleasure to report that Aloha is still a mess, a handful of stories struggling for a unifying tone.
    • 40 Metascore
    • 50 Peter Travers
    The chance for delicious satire melts away quickly in Butter, a spoof without oomph.
    • 43 Metascore
    • 50 Peter Travers
    Even sex can't save a film that produces instant narcolepsy.
    • 52 Metascore
    • 50 Peter Travers
    Between a diabolically funny start and a surprise climax, Scream 4 offers nothing more than a series of gory deaths that grow tiresome with repetition. The rating is a hard R, but Craven and Williamson keep it soft at its core. "Scream 1" is still the only keeper.
    • 47 Metascore
    • 50 Peter Travers
    Graham, back in the porn territory she aced in “Boogie Nights,” steals the show. In the winter doldrums, you don't kick at a movie that puts a smile on your face.
    • 52 Metascore
    • 50 Peter Travers
    It's Dead! It's Dead! By which I mean, It's Finished! It's Finished! Five movies have been squeezed out of four Stephenie Meyer Twilight books. All of them redefining cinematic tedium for a new century. And now, It's Over! It's Over! No more Twilight movies EVER! I'm so joyful that I might be overrating The Twilight Saga: Breaking Dawn, Part 2 by saying it's not half bad.
    • 53 Metascore
    • 50 Peter Travers
    If "Pulp Fiction" impregnated "The Usual Suspects," the spawn would look a lot like Lucky Number Slevin. Great genes, but you keep wondering when the kid is going to grow up and find an identity of his own.
    • 54 Metascore
    • 50 Peter Travers
    By the end of the film, the cliché of everybody getting along is reduced to both sides working together in the ultimate monument to capitalism: a mall. Some message.
    • 55 Metascore
    • 50 Peter Travers
    It's wickedly amusing for a little bit -- Robbins and Hurt really get into it -- but ultimately the film becomes what it's fighting: just noise.
    • 49 Metascore
    • 50 Peter Travers
    Looks and flows great, dripping with the 1940s crime-thriller atmosphere that James Ellroy described in his 1987 novel. On other levels -- plot (overstuffed), suspense (muted), acting (Hilary Swank as a femme fatale? Please!), posing (Scarlett Johansson plays dress-up as a mini Lana Turner), sex (it's all before and after) -- the movie is a bust.
    • 49 Metascore
    • 50 Peter Travers
    Quick and the Dead plays like a crazed compilation of highlights from famous westerns. Raimi finds the right look but misses the heartbeat. You leave the film dazed instead of dazzled, as if an expert marksman had drawn his gun only to shoot himself in the foot.
    • 48 Metascore
    • 50 Peter Travers
    It's the stunning location photography of camera ace Elliot Davis that provides what the movie itself lacks: authenticity.
    • 55 Metascore
    • 50 Peter Travers
    Wyatt keeps the action coming at a fast clip, but watching Jim repeatedly pursue a path of self-destruction for reasons never made clear grows wearying.
    • 65 Metascore
    • 50 Peter Travers
    Missing is a sense of the interior life behind the smiling face that Selena showed the world.
    • 53 Metascore
    • 50 Peter Travers
    No denying the relevance of the tale.
    • 62 Metascore
    • 50 Peter Travers
    The gifted Myers lets his once and (I hope) future shag king get lost in an elephantine Hollywood franchise. The first time was the charm, baby.
    • 50 Metascore
    • 50 Peter Travers
    Downey makes something lively, sexy and moving out of a role that's just a thin concept. But the movie feels like it's still in the darkroom.
    • 46 Metascore
    • 50 Peter Travers
    Sandra Bullock and Ben Affleck as star-crossed lovers, is the cinematic equivalent of Styrofoam: a weightless romantic comedy of synthetic feelings.
    • 39 Metascore
    • 50 Peter Travers
    Too limp to deliver.
    • Rolling Stone
    • 48 Metascore
    • 50 Peter Travers
    As the film stopped counting back in years and switched to months, I panicked that it would slog on to weeks, hours and seconds before reaching its inevitable end. I was wrong. About A Lot Like Love leaving you wanting a lot less, I am right.
    • 52 Metascore
    • 50 Peter Travers
    This Nacho leaves your palate longing for more spice and less rancid cheese.

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