Peter Debruge

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For 896 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Midnight Special
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
896 movie reviews
    • 58 Metascore
    • 70 Peter Debruge
    An RBG biopic shouldn’t be about sizzle and showpersonship, but hard work and determination in the face of rampant, seemingly unremitting sexism, and in that respect, Leder’s film gets its priorities right.
    • 39 Metascore
    • 40 Peter Debruge
    So much care has gone into each of the departments, from Guy Hendrix Dyas’ exquisite production design to Jenny Beavan’s micro-detailed costumes to composer James Newton Howard’s loving update of the Tchaikovsky score, and while any one of these elements might be tasteful in and of itself, it’s all too much to take in at once — the kind of overkill for which Liberace was known.
    • 82 Metascore
    • 90 Peter Debruge
    It’s the work of a true auteur (in what feels like his most personal film yet) presented as innocuous family entertainment.
    • 62 Metascore
    • 80 Peter Debruge
    Tantalizingly rich in atmosphere and altogether unhurried in revealing its secrets, the evocatively shot, ultra-widescreen Apostle will eventually veer into dark, mercilessly supernatural territory.
    • 49 Metascore
    • 40 Peter Debruge
    Apart from the uncommon notion that these mysterious visitors may actually mean us well, the film seems a little too comfortable with clichés, right down to the men in black who show up mid-movie to ruin everybody’s fun.
    • 70 Metascore
    • 80 Peter Debruge
    Nina’s confessional set takes the already-raw portrait to a whole other level. All About Nina is very funny, but with that scene, it breaks our hearts, forcing us to reevaluate Nina’s recklessness while reiterating the lesson of the last year: that we never know what someone has been through until that person chooses to share it, and that going public takes courage, as there’s no going back.
    • 75 Metascore
    • 90 Peter Debruge
    A Private War manages to be simultaneously appalled by the humanitarian crises it depicts...and honest about the thrill that visiting such hot spots offered to someone who found it hard to readjust to her life in London between assignments.
    • 60 Metascore
    • 50 Peter Debruge
    At two hours and 21 minutes, this 1969-set period thriller is taxingly slow and almost oppressively self-indulgent, constantly backtracking and replaying already-drawn-out scenes from multiple perspectives.
    • 58 Metascore
    • 60 Peter Debruge
    Here’s a project that had the nerve to address these tensions in a megaplex environment, only to squander them on a standoff it pretends could be so glibly resolved.
    • 60 Metascore
    • 30 Peter Debruge
    It’s messy and distressingly unmemorable, which is a shame since there are no shortage of great Looney Tunes-level cartoon gags wasted along the way, including an ingenious rope bridge sequence worthy of golden-age Warner Bros. animation.
    • 57 Metascore
    • 60 Peter Debruge
    While not terribly original, it would be fair to call the movie inventive, like one of those eccentrics who’s constantly pestering the patent office with what he thinks are fresh ideas, only to discover that someone else got there first.
    • 28 Metascore
    • 30 Peter Debruge
    What could have been a powerful ode to the impact that movies have in shaping our identities — and by extension, the reason broken people are drawn to the profession, through which they hope to reach others like themselves — becomes an over-the-top celebration of Dolan himself.
    • 66 Metascore
    • 60 Peter Debruge
    Sitting through the harrowing events again nearly a decade later could hardly be described as entertainment, and the film plays to many of the same unseemly impulses that make disaster movies so compelling, exploiting the tragedy of the situation for spectacle’s sake.
    • 69 Metascore
    • 80 Peter Debruge
    Featuring a pair of terrific performances by Viggo Mortensen as a goombah with a heart of gold and Mahershala Ali as multilingual composer-musician Don Shirley, the story may be unique, yet it goes pretty much exactly the way you might expect.
    • 67 Metascore
    • 70 Peter Debruge
    For Sutton — whose previous film, “Dark Night,” inspired by 2012’s Aurora megaplex shooting, made an austere statement about gun violence — Donnybrook marks a major step forward in both ambition and style.
    • 75 Metascore
    • 80 Peter Debruge
    Both deeply personal and remarkably objective, The Biggest Little Farm offers a firsthand account of the ups and downs of married duo John and Molly Chester’s trial-and-error attempt to start a biodiverse agricultural operation on land that had long since been stripped of nutrients.
    • 65 Metascore
    • 70 Peter Debruge
    The entire film is that rarest of gifts for its cast, providing virtually every character with a chance to play not only the present moment, but the complicated history they’ve established with Ben in the past, as well as whatever chance they see in the troubled young man’s future.
    • 84 Metascore
    • 90 Peter Debruge
    There’s no reason a movie about a devil dress should work, and yet Strickland strikes the right tone, inviting laughter by taking it all so seriously.
    • 89 Metascore
    • 90 Peter Debruge
    Although García and Moore were born in the same year (under the same sign!), Lelio is more mature now than he was when he made the original film, and he brings that experience to the project in small but crucial ways.
    • 88 Metascore
    • 70 Peter Debruge
    The movie quotes Baldwin as saying, “Every black person born in America was born on Beale Street,” but this one may as well be located inside a snow globe. In deciding how to translate Baldwin’s prose to the screen, Jenkins may as well have made Allen Ginsberg’s “Howl” as a Douglas Sirk movie (or put Alice Waters’ “The Color Purple” through the Steven Spielberg filter).
    • 71 Metascore
    • 70 Peter Debruge
    A dark Brothers Grimm-like fairy tale anchored by a terrific child-actor performance.
    • 67 Metascore
    • 70 Peter Debruge
    By contemporary horror standards, the original “Halloween” was actually quite tame, featuring just five (human) deaths, whereas this one more than triples the body count — and it does so with style, borrowing several of Carpenter’s classic devices...before getting into the more prosthetic-heavy mayhem that follows.
    • 59 Metascore
    • 50 Peter Debruge
    Although Demange directs the heck out of it, White Boy Rick ultimately feels like a glorified TV movie, albeit with a better cast and a much hipper score.
    • 60 Metascore
    • 50 Peter Debruge
    Whatever its value as rabble-rousing historical reenactment, Outlaw King never quite compares to the many films it’s so keen to imitate, and in some cases outright quote.
    • 64 Metascore
    • 70 Peter Debruge
    So much of the movie’s charm owes to Condor’s lead performance, which balances the character’s timidity with her lovability. Any guy would be lucky to date her, but the choice is ultimately hers.
    • 83 Metascore
    • 70 Peter Debruge
    For those who love the thrill of high-adrenaline adventure docs, National Geographic’s Free Solo will be a hard experience to top.
    • 60 Metascore
    • 60 Peter Debruge
    Hugh Jackman proves an inspired candidate to embody Hart, downplaying his brawny movie-star persona, while still conveying the twinkle-eyed sex appeal that was not only Hart’s undoing, but one of the qualities that would have made the photogenic and well-spoken senator from Colorado a logical choice to follow the country’s first movie-star president.
    • 87 Metascore
    • 90 Peter Debruge
    It’s the human side of the character that makes this McCarthy’s best performance to date, revealing haunting insights into friendship, loneliness, and creative insecurity.
    • 71 Metascore
    • 70 Peter Debruge
    Edgerton shows an admirable sense of restraint, even when hitting all the usual beats. He includes moments of quiet introspection for the characters and the audience alike.
    • 64 Metascore
    • 80 Peter Debruge
    Kidman has always been a chameleon, but in this case, she doesn’t merely change her color (or don a fake nose, à la “The Hours”); she disappears into an entirely new skin, rearranging her insides to fit the character’s tough hide.

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