For 432 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 2 points higher than other critics. (0-100 point scale)

Peter Keough's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Anomalisa
Lowest review score: 12 Hell Baby
Score distribution:
  1. Negative: 57 out of 432
432 movie reviews
    • 52 Metascore
    • 63 Peter Keough
    Intentionally or not, Roland Emmerich’s White House Down is the comedy hit of the summer. No other film equals its comic sophistication. Each nutty scenario is surpassed by the next, ludicrous story lines coalesce with expert orchestration, and absurd details return with perfect timing to build to a crescendo of hilarity.
    • 80 Metascore
    • 88 Peter Keough
    Though “Berberian” bogs down a bit in its infernal spiral, Strickland proves himself to be a rising talent — a master of sound and fury both.
    • 79 Metascore
    • 88 Peter Keough
    Burshtein has achieved a gripping film without victims or villains, an ambiguous tragedy drawing on universal themes of love and loss, self-sacrifice and self-preservation.
    • 41 Metascore
    • 38 Peter Keough
    The problem with high concepts like this is cooking up a story and characters to go along with it.
    • 81 Metascore
    • 88 Peter Keough
    It is part Rorschach test and part theme park ride as the filmmakers shoot from the strangest places and from such odd perspectives that much of the film consists of trying to figure out what the heck is going on.
    • 58 Metascore
    • 50 Peter Keough
    Fascinating but frustrating.
    • 39 Metascore
    • 50 Peter Keough
    Though offering some chilling twists on the usual conventions, employing wit and restraint where otherwise the filmmakers might have relied on the contents of an abattoir, Aftershock is ultimately predictable in its litany of who lives and who dies, and doesn’t try to be too ironic or self-reflexive about it.
    • 62 Metascore
    • 75 Peter Keough
    More than just a footnote to a wayward period of cultural history, The Source Family portrays an American type, the transcendent charlatan, a latter-day Gatsby, not of material riches but of the soul.
    • 52 Metascore
    • 63 Peter Keough
    Despite the derivativeness, Chism shows talent and shrewd instincts in the timing and direction of the comedy — she handles the requisite dinner table disaster scene with aplomb.
    • 35 Metascore
    • 75 Peter Keough
    An effusive, sad, visually gorgeous, and illuminating portrait of the artist.
    • 65 Metascore
    • 63 Peter Keough
    The Visitor arrived at the height of a sci-fi and horror film revival, when “serious” directors... embraced genre conventions and made them their own. Paradise stole from them all. But unlike these directors, his ambition was coupled with delusional ineptitude.
    • 32 Metascore
    • 12 Peter Keough
    Just because Rad — who died in 2007 at the age of 70 — wasted 26 years bringing Dangerous Men to the screen doesn’t mean you should waste 80 minutes watching it.
    • 84 Metascore
    • 88 Peter Keough
    After “Rocco,” Visconti’s style lost the vestiges of naturalism and indulged in rococo artifice and aristocratic splendor.
    • 68 Metascore
    • 100 Peter Keough
    Perhaps the elusive, uncanny soundtrack of Tangerine Dream brings this about, or maybe it’s Friedkin’s juxtapositions of close-ups and stark long shots of the tiny trucks lost in jungle or desert landscapes, but Sorcerer eventually seems to be happening someplace not of this world. Not hell, exactly; maybe Limbo.

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