Peter Travers

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For 2,836 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 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Road to Perdition
Lowest review score: 0 The Texas Chainsaw Massacre: The Beginning
Score distribution:
2836 movie reviews
    • 50 Metascore
    • 50 Peter Travers
    Say this for Emmerich, he's not stuffy. And he lucks out big-time with his cast.
    • 50 Metascore
    • 60 Peter Travers
    Director Brian Robbins ("Good Burger") and screenwriter W. Peter Iliff ("Prayer of the Rollerboys") have wrapped their moral fable in a glossy package of hard football action and towel-slapping, hard-body fun that might seem exciting if you've never seen a movie before.
    • 50 Metascore
    • 50 Peter Travers
    What's in this cliché grab bag for moviegoers? Well, Portman and Kutcher are a cute mismatch. She's short to his tall, sassy to his sweet, etc. I dried up here. So does the movie.
    • 50 Metascore
    • 50 Peter Travers
    This slapstick road movie feels tossed off by people on a raunchy bender. I mean that as a good thing. The trouble with Hit & Run is that it can't sustain its trippy effervescence.
    • 50 Metascore
    • 50 Peter Travers
    With the exception of a battle scene with apes on all fours charging the humans, the film is monumentally silly.
    • 50 Metascore
    • 60 Peter Travers
    Shaft scores by lacing ba-da-boom action with social pertinence.
    • Rolling Stone
    • 50 Metascore
    • 50 Peter Travers
    A frustratingly uneven satire with undeniably sharp teeth, isn't afraid to shoot comic darts at its targets until blood is drawn.
    • Rolling Stone
    • 50 Metascore
    • 50 Peter Travers
    There are times when Braff and Melfi hint at the darkness of a world that ignores seniors by making them invisible. But this new version of Going in Style sells uplift so hard it loses touch with reality – and any genuine reason for being.
    • 50 Metascore
    • 50 Peter Travers
    Eisenberg and Stewart stay appealing to the last. The movie, not so much.
    • 50 Metascore
    • 50 Peter Travers
    Playwright Stephen Belber (Match), in his directing debut, comes close to the sweet spot. He's not there yet. But he'll be worth watching next time.
    • 50 Metascore
    • 40 Peter Travers
    A sappy big-screen version of TV's "CSI."
    • 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.
    • 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.
    • 50 Metascore
    • 50 Peter Travers
    It's unapologetic schmaltz, deftly directed by Gary Winick (Tadpole) as if it really meant something.
    • 50 Metascore
    • 50 Peter Travers
    If the script for this comic spin on Fatal Attraction were only a tenth as hot as Uma Thurman, director Ivan Reitman might have had something here.
    • 50 Metascore
    • 50 Peter Travers
    The actors and admirably sensitive director Jake Scott (son of Ridley) can't compensate for Ken Hixon's long slog of a script.
    • 50 Metascore
    • 50 Peter Travers
    It looks slick, pricey and starry – Indiana Jones teams up with James Bond for a gunfight with space demons. But even Harrison Ford and Daniel Craig can't save a movie that's all concept, no content.
    • 49 Metascore
    • 50 Peter Travers
    It should have been an old-fashioned rouser, and sometimes it is. The great cinematographer Robert Richardson (JFK) lights the battle scenes like action paintings. But Kapur weighs down the tale with bogus profundities.
    • 49 Metascore
    • 50 Peter Travers
    The only touch of Caine's brutal sexiness is in the thrilling songs by Mick Jagger and Dave Stewart that should win Sir Mick his first Oscar. The rest is marshmallow.
    • 49 Metascore
    • 50 Peter Travers
    With Newman, the movie emerges as a lively character piece with flashes of humor and grace.
    • Rolling Stone
    • 49 Metascore
    • 50 Peter Travers
    Guess what? It's almost bearable.
    • 49 Metascore
    • 50 Peter Travers
    Writer-director Andrew Niccol -- gets this Hollywood satire off to a rousing start. But the middle flattens, despite Pacino firing on all cylinders. And the end just nose-dives into something silly and, worse, sentimental.
    • 49 Metascore
    • 50 Peter Travers
    When humor is served black, they call it dramedy. When it's done in this movie, I call it indigestible.
    • 49 Metascore
    • 40 Peter Travers
    Offers action in the Arnold Schwarzenegger style. Well, not right away.
    • Rolling Stone
    • 49 Metascore
    • 60 Peter Travers
    But the film exerts a hold. The crux is: for how long?
    • 49 Metascore
    • 50 Peter Travers
    One gut-busting death after another, terror giving way to tedium. Your call.
    • 49 Metascore
    • 50 Peter Travers
    Instead of a scalding brew of mirth and malice, served black, Donner settles up a tepid latte, decaf.
    • 49 Metascore
    • 50 Peter Travers
    Depending on your reaction to the cinematic outrages perpetrated by Danish director Lars von Trier (remember Dogville?), you might want to add or subtract two stars from the halfway (half-assed?) rating I just gave Antichrist.
    • 49 Metascore
    • 50 Peter Travers
    Should have been a fun update on the 1967 Brit farce. Director/co-writer Ramis comes on too strong with the camper trickery.
    • Rolling Stone
    • 49 Metascore
    • 40 Peter Travers
    Director Elie Chouraqui, who co-wrote the script, catches the chaotic horror of war, but why bother if you're going to subjugate truth to the tear-jerking demands of soap opera?

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