Peter Travers

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For 2,736 reviews, this critic has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Apostle
Lowest review score: 0 Teenage Mutant Ninja Turtles
Score distribution:
2736 movie reviews
    • 76 Metascore
    • 50 Peter Travers
    What begins brightly gets bogged down over 140 minutes. A film that took off like a hare on speed ends like a winded tortoise.
    • 75 Metascore
    • 60 Peter Travers
    I could have done more with the edgy humor of "Diner" and "Tin Men" and less of the mythmaking of "Avalon."
    • Rolling Stone
    • 73 Metascore
    • 60 Peter Travers
    Veering on the maudlin, the film ultimately succeeds by striking a universal chord on the subject of inconsolable loss. It's a stirring, humane testament from a surprising source.
    • 72 Metascore
    • 50 Peter Travers
    Magic Mike slowly degenerates into a simplistic cautionary fable. I didn't see that coming from a sharp observer like Soderbergh.
    • 71 Metascore
    • 60 Peter Travers
    There are times when The Good Girl is so low-key it damn near flatlines. Luckily, White creates compelling characters with a few deft brush strokes. The actors fill in the rest.
    • 71 Metascore
    • 60 Peter Travers
    Modestly made and modestly charming.
    • Rolling Stone
    • 69 Metascore
    • 60 Peter Travers
    But this is Washington's show, his Scarface, if you will, and his smiling, seductive monster is a thrilling creation that gives Training Day all the bite it needs.
    • 69 Metascore
    • 60 Peter Travers
    A meditation on the racial and class conflicts at the heart of the American character.
    • Rolling Stone
    • 69 Metascore
    • 60 Peter Travers
    What these guys do for revenge during one hellish day in the Big Apple makes the panic room look like Barney's toy box. The film itself goes off the deep end way before the end credits.
    • 68 Metascore
    • 50 Peter Travers
    Any similarities between Josey and Lois Jenson, the real woman who made Eveleth Mines pay for their sins in a landmark 1988 class-action suit, are purely coincidental. Instead, we get a TV-movie fantasy of female empowerment glazed with soap-opera theatrics.
    • 68 Metascore
    • 50 Peter Travers
    Even a nice chianti couldn't help you wash down this lump of tear-jerking twaddle.
    • 68 Metascore
    • 50 Peter Travers
    Until the last half-hour, when Lucas actually does establish a emotional connection between the landmark he created in 1977 and the prequel investment portfolio he laid out in 1999, the movie is one spectacularly designed letdown after another.
    • 68 Metascore
    • 50 Peter Travers
    In relying on narration, Redford's movie is too little show and too much tell.
    • 68 Metascore
    • 50 Peter Travers
    Nolte brings a raspy authority to the role, and director Neil Jordan (The Crying Game) surrounds him with colorful characters.
    • 67 Metascore
    • 60 Peter Travers
    Compared with ("The Sixth Sense"), there's no contest. Stir of Echoes has been outrun and outclassed.
    • Rolling Stone
    • 67 Metascore
    • 50 Peter Travers
    Tepid.
    • 67 Metascore
    • 50 Peter Travers
    Open Range copies the rain and flood of the Clint Eastwood classic but can't match it for dark-night-of-the-soul brilliance.
    • 67 Metascore
    • 50 Peter Travers
    Missing is a sense of the interior life behind the smiling face that Selena showed the world.
    • 66 Metascore
    • 50 Peter Travers
    What happens to the film's title character — and the audience — shouldn't happen to a dog.
    • 66 Metascore
    • 50 Peter Travers
    Sherrybaby is the kind of pretend-arty Sundance thing that gives indie cinema a bad name.
    • 65 Metascore
    • 50 Peter Travers
    Ninety minutes of being buried alive with Ryan Reynolds: Didn't we all suffer that in "The Proposal"?
    • 41 Metascore
    • 50 Peter Travers
    Even the great ones hit snags. With The Limits of Control, Jim Jarmsuch gets tangled up in his own deadpan.
    • 65 Metascore
    • 50 Peter Travers
    Hungarian director Istvan Szabo (Sunshine) overplays his hand and traps Bening in a role that's all emoting, no emotion.
    • 65 Metascore
    • 50 Peter Travers
    Before it goes off the rails into strained sermonizing, this sorta-sequel to 2008’s delightful "Forgetting Sarah Marshall" gets in big laughs.
    • 65 Metascore
    • 50 Peter Travers
    It's all a blur, except for the music. That's workin'.
    • 65 Metascore
    • 50 Peter Travers
    It's unlikely audiences will be echoing a starving Oliver's most famous line: "Please, sir, I want some more."
    • 64 Metascore
    • 50 Peter Travers
    It's a gimmick, it's not a movie.
    • 64 Metascore
    • 50 Peter Travers
    Elf
    Ferrell makes the damn thing work. Even though he can't get naked or use naughty words, there's a devil of comedy in Ferrell, and he lets it out to play. Director Jon Favreau has the good sense to just stand out of his way.
    • 64 Metascore
    • 50 Peter Travers
    Sollett, hoping for a "Before Sunrise/Before Sunset" vibe, sadly settles for a soggy aftertaste.
    • 64 Metascore
    • 50 Peter Travers
    The villains, an incestuous brother and sister played by real-life marrieds Amy Poehler and Will Arnett are a hoot. And "Office" honey Jenna Fischer is welcome as Jimmy’s love.

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