Peter Travers

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For 3,180 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 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 Joe Versus the Volcano
Score distribution:
3180 movie reviews
    • 68 Metascore
    • 50 Peter Travers
    The Art of Self-Defense sets itself up as the 90-pound weakling destined to live forever in the shadow of "Fight Club." The good news is that writer-director Riley Stearns gets in a few good licks at toxic masculinity before odious comparisons to David Fincher’s masterpiece blunt the film’s comic and dramatic impact.
    • 42 Metascore
    • 40 Peter Travers
    Stuber traps two talented dudes — Kumail Nanjiani and Dave Bautista — in a car that’s going nowhere so fast that Thelma and Louise would hop right on.
    • 48 Metascore
    • 40 Peter Travers
    The gore, which is plentiful, grows repetitive and dull.
    • 53 Metascore
    • 50 Peter Travers
    (It) feels like a pale facsimile of Jarmusch. There are a few lovely, random laughs and a resonant political subtext, but the tone is off.
    • 38 Metascore
    • 50 Peter Travers
    Hemsworth and Thompson, who has the makings of a major star, do the heavy lifting. And, miraculously, they keep it light, breezy and watchable. Memorable? That’s asking too much.
    • 40 Metascore
    • 40 Peter Travers
    By the end, when the three Shafts hit the streets in identical long coats like something out of The Matrix, the message is clear. Rough justice is back to stay. Women are out of the picture, except for sex. Dinosaurs again walk the earth with misogynistic and homophobic impunity. These are the laughs, folks. Don’t be surprised if they stick in your throat.
    • 55 Metascore
    • 50 Peter Travers
    Sad to say, the bloom is off the rose.
    • 53 Metascore
    • 50 Peter Travers
    Ma
    So it’s a kick to see Spencer dig into the title role in Ma, a Blumhouse scarefest that tries but rarely lives up to the irresistible dynamo at its center.
    • 48 Metascore
    • 40 Peter Travers
    The chance to see giant monsters go apeshit — a few more are added near the end — is almost worth the price of admission. Seeing, however, is part of the problem. Godzilla: King of the Monsters is often so lost in the shadows of digital muck that it makes the squinting chaos of the Battle of Winterfell in "Game of Thrones" look like a lightshow.
    • 44 Metascore
    • 40 Peter Travers
    It’s “The Bad Seed meets The Omen,” and it’s predictable, plodding and dim-witted every step of the way. To be fair, if you like watching someone pull a shard of glass out of her eyeball, you won’t be disappointed. But there’s a difference between gory and scary that this movie doesn’t seem to grasp.
    • 48 Metascore
    • 40 Peter Travers
    A bit of a stiff as cinema, rich in atmospherics but starved for the human spark that might uncover the man behind the myth.
    • 56 Metascore
    • 50 Peter Travers
    It’s clear that a verité, fly-on-the-wall record of these SNL livewires on vacation would have made a hilarious documentary. What we have instead follows the Sitcom 101 formula.
    • 52 Metascore
    • 50 Peter Travers
    In his second film as a feature director, following the mess that was "Book of Shadows: Blair Witch 2," Berlinger loses his way in a game of let’s pretend that ends in a tangle of tonal shifts and missed opportunities.
    • 65 Metascore
    • 60 Peter Travers
    The tightly-focused origin story of Ruth, played with ferocity and feeling by Gugu Mbatha-Raw, is still one hell of a heroic odyssey.
    • 60 Metascore
    • 40 Peter Travers
    Not even the haunting images and Garfield’s haggard intensity can disguise the gaping void where the film’s soul should be. There’s no there there.
    • 49 Metascore
    • 40 Peter Travers
    Alternately smarmy and achingly familiar, Little squeezes "Big" for one more run through the Hollywood grinder.
    • 57 Metascore
    • 60 Peter Travers
    You can kill the vibe of Minghella’s film with nitpicking, but Fanning rides the movie home to glory. She is simply sensational.
    • 46 Metascore
    • 60 Peter Travers
    Estevez leans toward sacrificing dramatic power for blatant crowdpleasing. Still, his intent is refreshingly uncynical. Clearly, the quadruple threat doesn’t think audiences will sit still for his message without sugarcoating and a feelgood ending. At worst, you can dismiss him as a naïve do-gooder. At best, you can commend him for actually believing a movie might raise public consciousness and maybe even change things. Your call.
    • 66 Metascore
    • 60 Peter Travers
    Leigh’s visceral staging, especially in the climactic moments — brilliantly shot by his longtime collaborator/cinematographer Dick Pope — brings home the significance of a 200-year-old bloodbath that still speaks urgently to the disenfranchised.
    • 51 Metascore
    • 50 Peter Travers
    This live-action re-imagining of Disney’s 1941 animated classic may be the sweetest film Tim Burton has ever made. It’s also the safest.
    • 64 Metascore
    • 60 Peter Travers
    Aussie director Anthony Maras, in his feature debut, brings a Hitchcockian feel for suspense and a documentarian’s eye for detail to the brutal events that transpired over three days in November 2008 when the Islamist militant group Lashkar-e-Taiba initiated an attack on the city of Mumbai.
    • 58 Metascore
    • 50 Peter Travers
    Nguyen can stir up all the sturm and drang he wants, but Hummingbird feels as humdrum and impersonal as a blueprint.
    • 61 Metascore
    • 50 Peter Travers
    Somewhere along the road of development hell, the movie settled for delivering standard-issue jolts for jocks.
    • 39 Metascore
    • 40 Peter Travers
    Wherever you find yourself in the Perry equation, Medea herself deserves a final high-five. Perry hints that she may come back in a younger version, not played by him. But Medea will never be the same without her creator. In A Medea Family Funeral, she hosts a memorial service that defines the term hellzapoppin. And Perry correctly and adoringly gives her the last word in which she lets all the women have for letting any damn man abuse them. Hallelujah, sister!
    • 42 Metascore
    • 40 Peter Travers
    What’s missing are the moments in between that actually make up a life and give it emotional resonance.
    • 60 Metascore
    • 60 Peter Travers
    Thanks to the comic tornado at its center, Isn’t It Romantic is still your best bet for a Valentine’s date at the movies. You could do worse.
    • 53 Metascore
    • 50 Peter Travers
    Now, after a deluge of comic book epics and other CGI-filled sci-fi fantasies, the movie feels like it’s way past its sell-by date. Alita: Battle Angel looks ready to rock, but time has sucked the life out of the party.
    • 49 Metascore
    • 40 Peter Travers
    Henson looks ready to come out firing on all cylinders, but the comic cowardice of What Men Want leaves her shooting blanks.
    • 68 Metascore
    • 50 Peter Travers
    Working in Spanish for the first time, the filmmaker somehow allows the interweaving threads of his plot to get tangled into a jumble even he can’t satisfactorily unravel. It’s a damn shame.
    • 57 Metascore
    • 60 Peter Travers
    The fans show up for this kind of movie to watch Neeson knock heads with bad guys, and Moland lets him rip. There’s no dawdling over sentiment. If you want to see a snowplow used as a weapon of mass destruction, you’ve come to the right movie.

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