Peter Bradshaw

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For 1,374 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 1.8 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Big Lebowski
Lowest review score: 20 A Little Bit of Heaven
Score distribution:
1374 movie reviews
    • 82 Metascore
    • 60 Peter Bradshaw
    What we have is a straightforward murder mystery, but it is told with gusto and humour.
    • 78 Metascore
    • 100 Peter Bradshaw
    1917 is Mendes’s most purely ambitious and passionate picture since his misunderstood and under-appreciated Jarhead of 2005. It’s bold, thrilling film-making.
    • 91 Metascore
    • 100 Peter Bradshaw
    This is such a beguiling, generous film from Gerwig. There is a lot of love in it.
    • 55 Metascore
    • 60 Peter Bradshaw
    What keeps the film going is simply the factual chaotic bizarreness of what is happening: an improvised deal on Iran-Contra levels of crookedness. Sudeikis is authentically bland and slippery.
    • 73 Metascore
    • 60 Peter Bradshaw
    Despite the film’s obvious interest, it is a bit conceited and stately, a little like Wim Wenders’ movie about Pope Francis, though without the sycophancy.
    • 51 Metascore
    • 60 Peter Bradshaw
    Boseman carries off the drama with flair and style.
    • 59 Metascore
    • 60 Peter Bradshaw
    The pure silliness of this idea is enjoyable. The children give guileless performances, and Nyong’o gamely plays the broad comedy for all its worth.
    • 66 Metascore
    • 60 Peter Bradshaw
    The Report is a cool, dry look at the facts.
    • 52 Metascore
    • 40 Peter Bradshaw
    Berman is guilty of one of the most tiresome cliches in documentary – solemnly playing the audio of a phone conversation, with subtitles, over an exterior shot of the building where it is taking place, giving the impression that this is smoking-gun proof of something sensational, or at any rate interesting, when it is pretty ordinary.
    • 94 Metascore
    • 100 Peter Bradshaw
    This wonderfully sweet, sad and funny film simply delivers more moment-by-moment pleasure than anything else around.
    • 50 Metascore
    • 20 Peter Bradshaw
    Everything about this clunks.
    • 64 Metascore
    • 60 Peter Bradshaw
    It’s nice to see these figures again, but I couldn’t help feeling that there is something a bit underpowered and contrived about the storyline in Frozen II: a matter of jeopardy synthetically created and artificially resolved, obstacles set in place and then surmounted, characters separated and reunited, bad stuff apparently happening and then unhappening.
    • 55 Metascore
    • 80 Peter Bradshaw
    This movie rattles along with terrific energy and dash and the flashback sequences show that it’s actually far more daring and ambitious that you might expect. It’s a great duel between McKellen and Mirren.
    • 42 Metascore
    • 60 Peter Bradshaw
    This a watchably stylised period film, with interesting visual setpieces and faces looming up at us out of intricately contrived backgrounds.
    • 51 Metascore
    • 60 Peter Bradshaw
    I was less taken with the wait-is-this-really-happening moments that tend to undermine the emotional currency in which the drama is presented to us. Some real tremors, though.
    • 79 Metascore
    • 80 Peter Bradshaw
    Gives us an amazingly candid and rather shocking study of the legendary fashion designer, and his apparent physical and mental deterioration at the age of 60.
    • 50 Metascore
    • 20 Peter Bradshaw
    The mystery has been dialled down, the treacle dialled up, and what we are left with is basically Eat Pray Love 2.
    • 80 Metascore
    • 80 Peter Bradshaw
    Here is a valuable and deeply felt documentary, celebrating the work of the sound designers, sound editors and Foley wizards in the cinema, and if it feels like a feelgood in-house promotional video for Hollywood technicians … well, they’ve got an awful lot to feel good about.
    • 59 Metascore
    • 40 Peter Bradshaw
    It is more than half an hour longer than the Stanley Kubrick film, although it seems more than that – laborious, directionless and densely populated with boring new characters among whom the narrative focus is muddled and split.
    • 51 Metascore
    • 60 Peter Bradshaw
    Farming is a tough film on a tough subject. There’s not much light and shade – but there can’t have been much light and shade going through it in real life – and Gubu Mbatha-Raw’s role as the concerned teacher is weakly drawn.
    • 75 Metascore
    • 60 Peter Bradshaw
    Ozon has made a decent and valuable film, though it often seems like the drama part of a docudrama: some of the scenes feel like respectful re-enactments that could have gone into a documentary.
    • 54 Metascore
    • 40 Peter Bradshaw
    It’s good to see Hamilton getting a robust role, although, sadly, she has to concede badass superiority to Davis. This sixth Terminator surely has to be the last. Yet the very nature of the Terminator story means that going round and round in existential circles comes with the territory.
    • 43 Metascore
    • 40 Peter Bradshaw
    This Maleficent is disappointing, although Jolie certainly sells it hard, as does Fanning, who takes it as seriously as anything else in her career.
    • 94 Metascore
    • 100 Peter Bradshaw
    No-one but Scorsese and this glorious cast could have made this movie live as richly and compellingly as it does, and persuade us that its tropes and images are still vital.
    • 70 Metascore
    • 60 Peter Bradshaw
    It’s a diverting scenario, though maybe it doesn’t quite have the “danger – high voltage” thrill of Morris’s other works.
    • 62 Metascore
    • 40 Peter Bradshaw
    Chalamet gives it his all as the pudding-bowl-hairstyled young king. But so much of the poetry and the sense of loss has gone from this decaffeinated version of the story.
    • 61 Metascore
    • 40 Peter Bradshaw
    Here’s a defanged, declawed yeti in an animation whose every beat, character and narrative component feels as if it has been algorithmically tested for commercial safety by a computer programme.
    • 76 Metascore
    • 80 Peter Bradshaw
    It’s a heartfelt, funny, satisfying film.
    • 67 Metascore
    • 60 Peter Bradshaw
    It’s a charismatic performance from Adewunmi, and Amoo’s camera often comes in close to his face and his gaze, suggesting that Femi is on the verge of some kind of epiphany or vision – and it’s nothing to do with the drugs.
    • 69 Metascore
    • 80 Peter Bradshaw
    Wells’s coolly indirect way with dialogue prevents the movie becoming insufferable in the way that it might have done in other hands. It is like a short story that insouciantly signs off before you’ve quite decided what it means.

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