Peter Bradshaw

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For 1,367 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Inside Llewyn Davis
Lowest review score: 20 The Courier
Score distribution:
1367 movie reviews
    • 60 Metascore
    • 60 Peter Bradshaw
    As well as death and tragedy, war is full of absurdity, indignity, chaos, all sorts of bizarre and embarrassing things that don’t get mentioned in the official record. Greyhound is content with its keynote of sombre reverence.
    • 65 Metascore
    • 40 Peter Bradshaw
    The adjective in the title is right. It gets old pretty quickly.
    • 71 Metascore
    • 60 Peter Bradshaw
    Homemade is a diverting but indulgent collection, and the experiences of genuine hardship don’t shine through very much.
    • 71 Metascore
    • 60 Peter Bradshaw
    The interest of this garrulous, convivial documentary creeps up on you by degrees.
    • 47 Metascore
    • 60 Peter Bradshaw
    It’s a bit hammy and TV-movie-ish, but you can’t help smiling at its feelgood directness and warmth.
    • 49 Metascore
    • 40 Peter Bradshaw
    The movie is not a disaster, just weirdly pointless.
    • 53 Metascore
    • 40 Peter Bradshaw
    Eisenberg does an honest job with the role of Marceau, but it is a subdued performance. Marceau emerges as animatedly nerdy before the Nazis invade, but when the film has to show his heroism, Eisenberg plays him pretty straight. The result is a performance that could have been turned in by anyone.
    • 54 Metascore
    • 60 Peter Bradshaw
    The movie partly follows the classic period-biopic template with the story extending in flashback from Marie being wheeled into hospital with her final illness. But the narrative is more unusual and ambitious – with its stylised flashforward sequences showing the consequences of Marie’s discovery, occurring like dream-premonitions.
    • 72 Metascore
    • 60 Peter Bradshaw
    This film does not offer any actual conclusions, but it is an atmospheric immersion in the old, smoky and very male world of American TV journalism.
    • 50 Metascore
    • 40 Peter Bradshaw
    Thewlis keeps the film from sinking completely: the haunted, unhappy man resigned to his unjust burden of guilt and shame.
    • 66 Metascore
    • 60 Peter Bradshaw
    I’m not sure that this documentary completely nails the movie’s attraction, and it can’t quite bring itself fully to condemn the misogyny or the rape scene, in which a woman of colour is assaulted (so that the white heroine can get her revenge) and is then forgotten. But there are plenty of insights.
    • 31 Metascore
    • 40 Peter Bradshaw
    Images and characters bounce around like shapes on a screensaver and only McDonnell and Gad’s performances have any fizz. This is a YA-franchise by numbers.
    • 68 Metascore
    • 40 Peter Bradshaw
    This curious, truncated piece tells us nothing substantial about Zofia Bohdanowiczowa or Józef Wittlin – or, indeed, about anything at all.
    • 63 Metascore
    • 40 Peter Bradshaw
    There is no law that says a movie like this has to be funny exactly, and it needn’t be something in the style of Booksmart – but there is something rather solemn about it.
    • 44 Metascore
    • 40 Peter Bradshaw
    This is like an over-chewed piece of gum: flavourless.
    • 69 Metascore
    • 60 Peter Bradshaw
    It’s an amusing and diverting film that, with a series of ellipses and jumps, finally takes us to an unexpected world of fear and grief – and then back again, to stylised unseriousness. An engaging debut, which Sendijarević will follow up with more substance to go with the style.
    • 59 Metascore
    • 60 Peter Bradshaw
    Nanijani and Rae work well together, although “chemistry” is perhaps a stretch.
    • 46 Metascore
    • 60 Peter Bradshaw
    It’s an interesting film, which Trank tops off with a contrived finale of bizarre, spectacular (and contrived) violence, yet the woozy slipping-into-dementia-fantasy sequences, although striking, mean sometimes that the visual impact of what we are seeing is sometimes lessened, as we wait to see if it is really happening or not.
    • 61 Metascore
    • 40 Peter Bradshaw
    The narrative focus is frustratingly split between Ben’s family and Abbie’s, and the result is a non-frightening muddle.
    • 66 Metascore
    • 60 Peter Bradshaw
    This is Obama’s own film, so we can’t expect any tough scrutiny.
    • 71 Metascore
    • 60 Peter Bradshaw
    Ema
    It’s a study in anger and emotional hurt that feels like a work in progress, an unfinished script the director has put before the camera before its complete development. Yet it is absorbing and challenging, as everything from this film-maker always is.
    • 40 Metascore
    • 60 Peter Bradshaw
    The film’s plausibility-level isn’t perhaps as high as all that (it really works best as a period piece from the pre-2008 crash) but Kross brings to it a jaded, corrupted glamour.
    • 56 Metascore
    • 60 Peter Bradshaw
    Extraction is a little bit hokey and absurd, and the very end has an exasperating cop-out – but it has to be admitted that, in terms of pure action octane, Russo and Hargrave bring the noise.
    • 69 Metascore
    • 60 Peter Bradshaw
    For all its fantastical vein, this movie has an interesting grasp of what high school is really like – not a Hollywood narrative, neither funny nor tragic, and certainly nothing like that most unreal of genres, the coming-of-age drama. Rather it’s messy, downbeat and inconclusive, without teachable moments – like everything else in real life.
    • 65 Metascore
    • 60 Peter Bradshaw
    A sombre, well-acted film about sacrifice and regret.
    • 42 Metascore
    • 60 Peter Bradshaw
    It's been a while since I've seen a silly baddie get the seat of his trousers set on fire, run around squawking, and then sit down in a water trough with an ecstatic sigh.
    • 51 Metascore
    • 40 Peter Bradshaw
    There is something absolutely robotic about Trolls World Tour: the voices, the design, the dialogue, the plot progressions, the break-up-make-up crisis between Poppy and Branch, everything. It’s chillingly efficient, like a driverless car going round in circles.
    • 72 Metascore
    • 60 Peter Bradshaw
    I find myself admiring his visual and compositional sense, while being a bit exasperated by the provisional and coyly non-committal nature of his storytelling.
    • 61 Metascore
    • 60 Peter Bradshaw
    It’s a technically impressive work with some lovely images — and a bit of a sugary taste.
    • 75 Metascore
    • 60 Peter Bradshaw
    I was sometimes captivated but often frustrated by this epic essay-film, a meditation on Germany and his own family history that is stark, fierce, austerely cerebral and almost four hours long.

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