Peter Debruge

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For 1,373 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 0.3 points lower than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Three Burials of Melquiades Estrada
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
1373 movie reviews
    • 45 Metascore
    • 50 Peter Debruge
    A smarter script would’ve found ways to work a historical critique (or some “Shrek”-like satire, at least) into its relatively brainless string of set pieces.
    • 78 Metascore
    • 80 Peter Debruge
    Even before Vladimir Putin’s unprovoked invasion, Olga was an incredibly strong film, but now, the Kino Lorber release should be considered essential viewing for art-house audiences.
    • 82 Metascore
    • 80 Peter Debruge
    In the end, The Sea Beast is a movie about challenging conventional wisdom and figuring things out for yourself, and that’s a philosophy that worked on both sides of the camera.
    • 74 Metascore
    • 90 Peter Debruge
    An insightful, engaging and all-around affirmational auto-portrait from an Afro-Latina New Yorker with an ear for poetry and an eye for the ineffable, Beba never questions its own right to exist.
    • 57 Metascore
    • 70 Peter Debruge
    Six months into 2022, it’s the funniest film Hollywood has produced thus far. Audiences know what to expect, and Illumination delivers, offering another feel-good dose of bad behavior.
    • 54 Metascore
    • 20 Peter Debruge
    Kosinski is a gifted director, but his specialty is juggling human elements with complex visual effects. He is not cut out for this kind of comedy. His design choices are all wrong. The execution is tone deaf.
    • 74 Metascore
    • 80 Peter Debruge
    It’s here in the movie’s more fantastical details that Yonebayashi’s imagination runs free — and Studio Ponoc’s potential shines brightest. The world they’ve created may not be logical, but it is intuitive, as Mary adapts to whatever hallucinatory wonder or obstacle the filmmakers can throw at her
    • 80 Metascore
    • 100 Peter Debruge
    This sweeping period drama may be up to its eyeballs in costumes and carriages, but it plays with all the brio and jeopardy of a modern-day gangster movie, featuring hack journalists as its antiheroes.
    • 38 Metascore
    • 60 Peter Debruge
    Of the three “Jurassic World” movies, “Dominion” is the least silly and most entertaining. But that’s not saying much. This “stop to ask if they should” cycle’s human characters were never especially interesting, and why should we trust Trevorrow to suddenly make them so?
    • 59 Metascore
    • 80 Peter Debruge
    Though its weak bounty-hunter plot makes almost no sense, After Blue satisfies that thirsty spot in our psyche too few films succeed in tickling, where dreams are born, hormones churn and logic simply doesn’t apply.
    • 86 Metascore
    • 80 Peter Debruge
    [Pálmason's] a cinematic original whose voice grows stronger and more certain with each film.
    • 68 Metascore
    • 70 Peter Debruge
    If Larry Clark had ever found his way onto the Pine Ridge Reservation, he probably would have come away with a film like “War Pony,” which observes its young Native American characters hustling, skating and stealing drugs from otherwise distracted adults.
    • 83 Metascore
    • 60 Peter Debruge
    I am convinced that Dhont has a masterpiece in him. But there’s an immaturity to his movies that he must first overcome. He’s already so close
    • 73 Metascore
    • 80 Peter Debruge
    Kore-eda is surprisingly generous toward his characters, nearly all of whom are breaking the law, but whose fundamental decency is brought out when dealing with others in need.
    • tbd Metascore
    • 90 Peter Debruge
    The result — a stunning Iranian-style riff on “The French Connection” — is a run-and-gun, Hollywood-caliber cop movie grounded by a clear-eyed assessment of how Tehran’s system works, and all the ways in which it doesn’t.
    • 55 Metascore
    • 70 Peter Debruge
    A twisty, action-packed political thriller — one that keeps you guessing even as it spirals into ever-crazier realms.
    • 87 Metascore
    • 80 Peter Debruge
    The helmer constructs scenes with a bustling documentary energy, studiously avoiding melodramic tropes, even when they might serve to make the narrative more engaging, less unwieldy or simply easier to digest overall.
    • 75 Metascore
    • 80 Peter Debruge
    EO
    EO is a damning polemic on our relationship to other intelligent species — as free labor, food and companions — as seen through the dewy, wide eyes of a donkey whom we come to adore.
    • 71 Metascore
    • 60 Peter Debruge
    What we’re dealing with here is a fairly conventional political thriller — think “House of Cards,” minus the sleek David Fincher aesthetic or much in the way of suspense — set in a world no one has dared to explore on screen before now.
    • 72 Metascore
    • 80 Peter Debruge
    Yang may be the MVP in this ensemble, though the cast is terrific across the board.
    • 66 Metascore
    • 80 Peter Debruge
    The thing about Östlund is that he makes you laugh, but he also makes you think. There’s a meticulous precision to the way he constructs, blocks and executes scenes — a kind of agonizing unease, amplified by awkward silences or an unwelcome fly buzzing between characters struggling to communicate.
    • 57 Metascore
    • 60 Peter Debruge
    These days, audiences are so savvy about the tricks at a filmmaker’s disposal that the movie’s greatest achievement is that it seizes our imagination (or perhaps that’s our attention deficit disorder being so brusquely manhandled) and holds it for the better part of two hours, defying us to anticipate what comes next.
    • 78 Metascore
    • 90 Peter Debruge
    Hardly anything in Top Gun: Maverick will surprise you, except how well it does nearly all the things audiences want and expect it to do.
    • 59 Metascore
    • 60 Peter Debruge
    Let’s be clear: Lux Æterna is a glorified Saint Laurent commercial. That’s the tweet-length analysis. But there’s more to it than that.
    • 65 Metascore
    • 50 Peter Debruge
    Men
    The leaves are so green, the tone is so ominous, and the men are so … Rory Kinnear-y that audiences are all but guaranteed to leave this folk-horror bizart-house offering feeling disturbed, even if no two viewers can agree on what bothered them about it.
    • 41 Metascore
    • 50 Peter Debruge
    In the end, “Memory” isn’t terribly convincing, but it’s at least trying for something more serious than most.
    • 63 Metascore
    • 70 Peter Debruge
    Fellowes gives us an affectionate group hug, which is effectively what these encore visits amount to.
    • 31 Metascore
    • 50 Peter Debruge
    It was on this film that Scodelario met Walker. The couple are now married, which suggests there’s a “happily ever after” to be found somewhere in this froufrou film maudit.
    • 46 Metascore
    • 50 Peter Debruge
    Bourboulon hatches a second-rate romance, rather than detailing the rich, real-life drama that swirled around Eiffel’s controversial endeavor.
    • 73 Metascore
    • 80 Peter Debruge
    It’s an old-fashioned literary fable, spiked with shots of grimacing men with sunburned faces blasting one another with shotguns that wouldn’t be out of place in a Sergio Leone movie.

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