Peter Travers

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For 3,322 reviews, this critic has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 1.6 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Broken Arrow
Lowest review score: 0 Transformers: Dark of the Moon
Score distribution:
3322 movie reviews
    • 84 Metascore
    • 90 Peter Travers
    What makes it one of the best (and most unclassifiable) movies of the year is the hypnotic way it keeps re-inventing itself from scene to scene.
    • 58 Metascore
    • 50 Peter Travers
    What does work is hearing Grace take the stage for a new song, “Love Myself” that shows Ross can hold the screen as if by divine right. Loving her is easy — it’s swallowing the movie’s sudsy, soap-operatics that’s hard.
    • 55 Metascore
    • 50 Peter Travers
    In these times of pandemic isolation it’s no crime to look for the film equivalent of comfort food. Military Wives, though deeply reliant on formula and wrapped in a blanket of bland, fits the bill.
    • 32 Metascore
    • 0 Peter Travers
    One adjective you don’t hear much anymore is “preposterous,” defined as “contrary to nature, reason or common sense.” Yet the word applies perfectly to Inheritance, a blithering botch job of a thriller that begs the question: “Come on, are you f**king kidding me?”
    • 58 Metascore
    • 80 Peter Travers
    The Lovebirds knows how to send out a laugh with a sting in its tail. That’s what they call inspired lunacy.
    • 38 Metascore
    • 40 Peter Travers
    A tale of alien abduction, Proxmity serves as an in-and-out impressive calling card for debuting feature writer and director Eric Demeusy.
    • 37 Metascore
    • 30 Peter Travers
    From its generic title to an ending you can see coming from outer space, Blood and Money follows a path rutted with enough clichés to cover the three million acres of Maine forest land where the film is set.
    • 46 Metascore
    • 50 Peter Travers
    Aside from Hardy’s full-on commitment, Capone seems too dramatically dull and laborious to support its ambition as a subversive biopic or a deeply personal take on public vilification.
    • 83 Metascore
    • 90 Peter Travers
    All credit to O’Sullivan, Thompson and a tone-perfect cast for creating a film that moves to the rhythms of life as its lived rather than fantasized. Saint Frances retains its rough edges to that last. And that’s some kind of miracle.
    • 58 Metascore
    • 60 Peter Travers
    Hope Gap is a deeply personal project for Nicholson, who is performing an autopsy on the marriage of his own parents, with him as the son trying to be faithful and fair to both combatants.
    • 56 Metascore
    • 60 Peter Travers
    What does matter, besides the collection of deranged characters who can’t escape their limitations, is the southern-fried atmosphere so resonantly captured by DP Steven Meizler (Contagion).
    • 70 Metascore
    • 70 Peter Travers
    It’s funny — as is a lot of this eager-to-please, all-over-the-place movie — thanks to the dry snap of Moran’s dialogue and Feldstein’s exhilarating performance.
    • 69 Metascore
    • 80 Peter Travers
    Blue Story is a 91-minute assault of sound and image that leaves no doubt about the vicious cycle of gang violence it presents. Prepare to be wowed.
    • 74 Metascore
    • 80 Peter Travers
    Despite its fluid sexuality, The Half of It turns out to be less of a love story than a funny, touching and vital look into the nature of friendship.
    • 79 Metascore
    • 80 Peter Travers
    In the end, the audience is rewarded with a steadily riveting provocation that jabs at the culture of money that makes us all complicit.
    • 75 Metascore
    • 80 Peter Travers
    Visually, however, True History speaks volumes. In tandem with MacKay, whose incendiary performance finds method in Ned’s growing madness, Kurzel and his crew of merry, malicious pranksters blow the dust off a calcified outlaw history to bring something elemental and transgressive to the screen.
    • 56 Metascore
    • 40 Peter Travers
    No judgments here if you just want to hang back and let nonstop gore, gunfire, and explosions numb you into submission. Take that, COVID-19.
    • 41 Metascore
    • 50 Peter Travers
    Though the movie stalls frequently before it finds its balance, Woodley makes us care.
    • 55 Metascore
    • 70 Peter Travers
    Sergio is not a film about a saint or a sinner, but an attempt that succeeds more often than not to create a portrait of a man in full. Yes, it also occasionally puts him on a pedestal — but in these dark days, advocating for hope and idealism feels exactly right.
    • 51 Metascore
    • 50 Peter Travers
    Trolls World Tour hits the home market at exactly the right time, celebrating music as a joyful, community experience that excludes no one. Nothing wrong with a movie, even this kiddie piffle, that steps up and does that.
    • 41 Metascore
    • 30 Peter Travers
    For those who mistake Love Wedding Repeat for a comedy with actual laughs, consider yourselves warned.
    • 35 Metascore
    • 0 Peter Travers
    Helms, a master jester on The Office, seems to have forgotten everything he’s ever learned about comic timing to judge by fiasco. Since Coffee and Kareem also credits Helms as a producer, he has only himself to blame.
    • 55 Metascore
    • 60 Peter Travers
    Jakubowicz achieves maximum impact by keeping our eyes on the man in the invisible box, one trying to teach children that the power of art can literally be a saving grace.
    • 86 Metascore
    • 90 Peter Travers
    Using their voices for demonstrations and protests, they helped pass 1990’s revolutionary Americans With Disabilities Act. This documentary proves that they are still changing the world.
    • 39 Metascore
    • 40 Peter Travers
    There’s no doubting Potter’s laudable ambition to capture the swirling headspace of her brother, who died in 2013. But in trying to restore his dignity in fighting the dying of the light, she’s neglected to portray him in the human terms that would let us share his spirit.
    • 91 Metascore
    • 90 Peter Travers
    The friendship at the heart of this film, as indelibly portrayed by two brilliant young actresses — Flanigan is a wonder to behold, while Ryder nails just the right notes of supportive and warmly sympathetic — is a thing of beauty. Hittman’s urgent film is an emotional wipeout. It’s hard to watch. It’s also impossible to forget.
    • 55 Metascore
    • 50 Peter Travers
    What a bummer that a movie that paints itself as a scintillating, sexually-charged, art-world thriller ends in a swamp of failed intentions.
    • 68 Metascore
    • 50 Peter Travers
    Cornball? Maybe. But it helps that O’Connor dexterously avoids the usual lump-in-the-throat tearjerking. And it helps even more that the star radiates a soul-deep belief that it’s the small steps that matter more than a rah-rah victory. He makes us root for Jack — just us The Way Back makes us root for Affleck, no matter how long the road ahead.
    • 61 Metascore
    • 60 Peter Travers
    You’ll laugh. You’ll cry. But first you have to cut through the noise.
    • 57 Metascore
    • 50 Peter Travers
    Wobbly but well-intentioned broadside against racism.

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