Peter Travers

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For 3,061 reviews, this critic has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Before Night Falls
Lowest review score: 0 Brooklyn's Finest
Score distribution:
3061 movie reviews
    • 73 Metascore
    • 80 Peter Travers
    Green Book is a movie about class as well as race, and Farrelly rightly refuses to paint a pretty picture.
    • 87 Metascore
    • 90 Peter Travers
    The filmmaker brings everything he has as an artist to this raw, resonant thriller. The screen damn near explodes as his genre caper suddenly encompasses a whole social strata (race, class, politics, gender). You’re in for a hell of a ride.
    • 50 Metascore
    • 40 Peter Travers
    The Grinch offers a solid service to anyone with kids in need of a nap under a blanket of bland.
    • 43 Metascore
    • 70 Peter Travers
    The Girl in the Spider’s Web, directed with gun-to-the-head urgency by Fede Alvarez (Don’t Breathe), settles for being a tension-packed, go-go-go thriller that will pump adrenaline into your nervous system for nearly all of its suspenseful if implausible 117 minutes.
    • 81 Metascore
    • 90 Peter Travers
    Saddle up for a rowdy, rip-snorting, hilarity-and-hellfire western full of riding, fighting, hanging, shooting, gold prospecting and bloody massacres — plus silly songs, a limbless poet, cowboy love rituals and philosophical musings about the inevitability of dying. Yes, it’s all in one movie. Who does things like that? Try Joel and Ethan Coen.
    • 60 Metascore
    • 60 Peter Travers
    Not even Jackman, one of the most persuasive actors around, can sell the argument that personal weakness doesn’t stain public character in the era of #MeToo.
    • 73 Metascore
    • 70 Peter Travers
    No narrator, no talking heads feeding you insights, just the lady letting it rip on stage and off. What Volf, a French photographer now working on his third book about the acclaimed soprano, misses in perspective he gains in intimacy. His film fawns shamelessly and fumbles a few salient points, but it’s indisputably up close and personal.
    • 39 Metascore
    • 20 Peter Travers
    Slow torture for kids and grownups alike, The Nutcracker and the Four Realms gives a bad name to the very concept of family entertainment.
    • 79 Metascore
    • 80 Peter Travers
    The chaotic, jumbled The Other Side of the Wind isn’t for everyone — just folks who care about the history of film and the master builder who helped make it great.
    • 49 Metascore
    • 60 Peter Travers
    The rousing life that Malek brings to this extraordinary recreation deserves all the cheers it gets. Screw the film’s flaws — you don’t want to miss his performance.
    • 71 Metascore
    • 70 Peter Travers
    The reason that Boy Erased hits you like a shot in the heart can be found in Jared’s relationship with his parents. Kidman brings stirring compassion and a growing strength to a woman who learns about herself the more she learns about her son. And Crowe is magnificent as a believer who can’t quite storm the barricades his faith erects around a true reconciliation with his son.
    • 79 Metascore
    • 80 Peter Travers
    At two-and-a-half hours, Monrovia, Indiana often feels static and low-key to a fault. As always, Wiseman is working hard at being fair, refusing to condemn or even condescend to what his camera sees.
    • 90 Metascore
    • 90 Peter Travers
    This stunning, slow-build thriller from South Korean director Lee Chang-dong sizzles with a cumulative power that will knock the wind out of you.
    • 64 Metascore
    • 60 Peter Travers
    Polarizing is too tame a word to describe reactions to Luca Guadagnino’s radical rethinking of Suspiria. Either you’ll dig in or bolt for the exit — no in between.
    • 69 Metascore
    • 80 Peter Travers
    At first glance, you might mistake What They Had for one of those well-meaning family dramas about what to do when your mom is diagnosed with Alzheimer’s. But that would discount the exceptional accomplishment achieved by debuting director Elizabeth Chomko, enlivening her scrappy script with a cast of actors who truly are as good as it gets. You laugh as much as you cry, which means you believe in the movie’s truth.
    • 87 Metascore
    • 80 Peter Travers
    Melissa McCarthy is a lock for a Best Actress Oscar nomination for Can You Ever Forgive Me?
    • 80 Metascore
    • 80 Peter Travers
    In a beautifully nuanced directing debut, actor Paul Dano mines the smallest details in Richard Ford’s acclaimed 1990 novel — he and his partner Zoe Kazan wrote the emotionally-attuned script — to create a portrait of a woman who can’t quite catch up with the frustration and feminist stirrings she feels inside.
    • 66 Metascore
    • 70 Peter Travers
    Near the end, Hill boxes himself into a sentimental corner that takes a little off the film’s edge. But before that, Mid90s bristles with fun, feeling and the exhilaration that comes with risking life’s hairpin turns.
    • 67 Metascore
    • 80 Peter Travers
    That Green’s sequel works as well as it does — it’s still a slasher movie — is due only in part to the director and his collaborators’ copycat admiration for Carpenter’s blueprint. Mostly it’s the troubled times we live in that allows this energizing, elemental horror film to touch a raw nerve for #MeToo.
    • 76 Metascore
    • 70 Peter Travers
    The art that The Kindergarten Teacher is scanning can be found in Gyllenhaal’s eyes, hungry for a life of the mind and one starved of meaning. Jimmy is not the only one who has something to say. For the filmmaker and her star, this movie is their poem.
    • 64 Metascore
    • 70 Peter Travers
    A sense of injustice runs like a toxic river through Everett’s film, an affront to homophobia through the ages, even our enlightened one. In the end, The Happy Prince makes its strongest mark as a heartfelt salute to Wilde from an actor and filmmaker who was born to play him.
    • 69 Metascore
    • 70 Peter Travers
    There’s no doubting its power. This film will take a piece out of you.
    • 60 Metascore
    • 60 Peter Travers
    Here’s the thing about Bad Times at the El Royale: When it’s good, it’s very, very good — and when it’s bad, this retro whatsit is a whole lot of awful.
    • 63 Metascore
    • 70 Peter Travers
    It’s a tough, achingly tender film that refuses to trade in false hopes or cheap sentiment. That truth is what makes Beautiful Boy hard to take and impossible to forget.
    • 84 Metascore
    • 90 Peter Travers
    Concentrate on the abundant factors that make First Man unmissable and unforgettable. There have been astronaut movies before, good (Apollo 13) and better (The Right Stuff). But few have been as much a triumph of the imagination fueled, not by FX but by indelible feeling, as this one.
    • 82 Metascore
    • 80 Peter Travers
    It is impossible to over-praise Stenberg’s incandescent performance, a gathering storm that grows in ferocity and feeling with each scene.
    • 35 Metascore
    • 20 Peter Travers
    This year gave us the best and most imaginative Marvel film in "Black Panther." Now we have the worst.
    • 88 Metascore
    • 90 Peter Travers
    You get pulled into a force field, thanks to Cooper’s behind-the-camera chops and Gaga’s sound and fury. By the time the end credits roll, you realize that, in fact, two stars have been born.
    • 67 Metascore
    • 80 Peter Travers
    Green sometimes hits his points too hard, letting his fierce human drama drift into polemic. But there’s no denying the righteous indignation that fuels Monsters and Men, a powerhouse that couldn’t be more timely or necessary.
    • 79 Metascore
    • 90 Peter Travers
    Sometimes a movie arrives that charms its way into your heart — and The Old Man & the Gun is just such an unassuming, exuberant gift.

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