Peter Travers

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For 3,170 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 The Ice Storm
Lowest review score: 0 Annie
Score distribution:
3170 movie reviews
    • 86 Metascore
    • 90 Peter Travers
    It’s part tour diary, part trickster handbook and totally mesmerizing. Rockumentary-wise, you’ve never seen or heard anything like it.
    • 54 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.
    • 43 Metascore
    • 20 Peter Travers
    Dark Phoenix doesn’t just suck big time. It’s the worst movie ever in the X-Men series.
    • 71 Metascore
    • 80 Peter Travers
    Thompson, Kaling and up-for-anything director Nisha Ganatra spin comic gold.
    • 64 Metascore
    • 70 Peter Travers
    It’s an irresistible romantic romp that turns the familiar into something sweet, sassy and laugh-out-loud funny.
    • 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.
    • 69 Metascore
    • 80 Peter Travers
    The film owes its success less to shock value than to sheer cinematic inventiveness and Egerton’s total immersion in the role.
    • 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.
    • 63 Metascore
    • 70 Peter Travers
    Ignore the film’s foolish framing device and Halston emerges as a fascinating study of a fashion artist who allowed women to live an idealized vision of themselves.
    • 53 Metascore
    • 70 Peter Travers
    That the movie itself is a treat, beyond its good intentions, is icing on the cake, though clichés and ethnic stereotyping still sneak in.
    • 84 Metascore
    • 80 Peter Travers
    Booksmart changes the game and opens the genre up to greater possibilities. Directed by the actor Olivia Wilde in a smashing feature debut, this femcentric spin on Freaks and Geeks is high on girl power.
    • 92 Metascore
    • 90 Peter Travers
    Written and directed by the bracingly brilliant Joanna Hogg, this delicate, dazzling memoir traces her own origin story, and there is something superheroic about her struggle to look back without hitting the brick wall of formula and weepy nostalgia.
    • 73 Metascore
    • 90 Peter Travers
    Wick 3, starring Keanu Reeves in the role he was born to play, hits you so hard in the thrill zone that instead of feeling exhausted when director Chad Stahelski calls a halt at 130 minutes, you’re panting for Chapter 4.
    • 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.
    • 59 Metascore
    • 70 Peter Travers
    Branagh’s performance is a triumph of ferocity and feeling that shuns Shakespeare the literary rock star to find the flawed, touchingly human man inside.
    • 35 Metascore
    • 20 Peter Travers
    They say it’s all in the timing, especially when it comes to funny business. But in The Hustle everyone’s inner comedic clock is calamitously off. The setups are flat, the jokes don’t land and the actors don’t — or won’t — connect.
    • 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.
    • 79 Metascore
    • 80 Peter Travers
    The famous Assayas light touch keeps his film above the fray of didacticism. So dig in as an expert cast puts a scintillating spin on every verbal volley. Non-Fiction is a bonbon spiked with delicious wit and malice.
    • 80 Metascore
    • 80 Peter Travers
    The fighting spirit of this female quartet blazes through every frame of this galvanizing film. “We did this without knowing shit,” says Vilela. That’s just a beginning. Way before the movie ends, you’ll feel their fire.
    • 67 Metascore
    • 70 Peter Travers
    The result is a gleefully retro and raunchy funfest that walks a minefield of sexist traps it can’t always dodge. That the rom and the com both land is a tribute to Theron and Rogen.
    • 61 Metascore
    • 80 Peter Travers
    Part thriller, part meditation on life and art, part portrait of a man on a tightrope, The White Crow may be juggling more themes than it can handle. But Fiennes makes the result a thing of bruising beauty and an exhilarating gift.
    • 78 Metascore
    • 80 Peter Travers
    The movie hits you like a shot in the heart.
    • 69 Metascore
    • 70 Peter Travers
    But fantasy elements aside, this Disney movie has the one essential that makes a nature documentary fly: a thrilling sense of wonder.
    • 74 Metascore
    • 70 Peter Travers
    The film’s most powerful asset is Thompson (Sorry to Bother You, Thor: Ragnarok) in a performance that cuts through the script’s cliches to find the heart of a character that reflects the plight of a woman alone in a man’s world.
    • 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.
    • 59 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.
    • 41 Metascore
    • 30 Peter Travers
    The dialogue starts at risible and descends from there.
    • 89 Metascore
    • 80 Peter Travers
    The movie pulls you in through the sheer immersive force of its filmmaking. In Long Day’s Journey, the search is everything with meaning as elusive and haunting as a dream.
    • 75 Metascore
    • 70 Peter Travers
    Still, the moments that hit hardest concern Leo’s relationship with Ahd (a very fine Eric Bernard), another male hustler who claims he’s only “gay 4 pay.”
    • 49 Metascore
    • 40 Peter Travers
    Alternately smarmy and achingly familiar, Little squeezes "Big" for one more run through the Hollywood grinder.
    • 69 Metascore
    • 80 Peter Travers
    Her Smell is a berserker infused a mad poetry. In her third film with Perry, following "Listen Up," "Phillip and Queen of the Earth," Moss takes a character who makes Courtney Love look like Mother Teresa and exposes the shards of humanity that once vitalized and defined her music. The effect is shattering.
    • 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.
    • 77 Metascore
    • 80 Peter Travers
    With Denis there’s always more than meets the prism of snap judgements. Let the movie mess with your head.
    • 94 Metascore
    • 100 Peter Travers
    It’s the closest thing to witnessing a miracle — just some cameras, a crowd and a voice touched by God.
    • 57 Metascore
    • 70 Peter Travers
    The movie honors King by raising fresh hell for a new generation. It will make you jump out of your seat, but what matters are the provocations you take home and can’t shake. That’s the stuff of nightmares.
    • 70 Metascore
    • 80 Peter Travers
    This breezy, funny entry keeps things light with a hilarious and heartfelt package of nonstop kid-friendly kick-ass.
    • 86 Metascore
    • 90 Peter Travers
    What’s never in doubt, however, is the compassion the movie shows to its protagonist, partly based on the women in the filmmaker’s own family and embodied by a great actress at her intuitive, indelible best. In capturing what Jones calls “the rhythm of living” even in the face of death, he has turned this character study into a shattering portrait of resilience — and an essential work of art.
    • 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.
    • 81 Metascore
    • 80 Peter Travers
    Us
    There are times when the film grips us with such hallucinatory terror that you may think it’s another of Adelaide’s PTSD-induced nightmares. Maybe it is. Or maybe it’s a ghastly reflection of the way we live now.
    • 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.
    • 77 Metascore
    • 80 Peter Travers
    Clermont-Tonnerre comes from a place of defiance, and her fearless instincts surge through every frame. Each time you think you have this movie pegged, it’ll knock you for a loop.
    • 43 Metascore
    • 30 Peter Travers
    A stuffy, soggy slog of a movie that fails to generate sparks or a lick of dramatic sense.
    • 79 Metascore
    • 80 Peter Travers
    Hollywood retreads of foreign films are rarely a good idea (did you see Miss Bala?), but Gloria Bell is a playful, pleasure-giving exception.
    • 61 Metascore
    • 50 Peter Travers
    Somewhere along the road of development hell, the movie settled for delivering standard-issue jolts for jocks.
    • 64 Metascore
    • 80 Peter Travers
    The film’s low-key charm and quirky humor grow on you and create a rooting interest in what happens next. It doesn’t take the Supreme Intelligence of the universe (who we always figured would resembled Annette Bening) to know it’s wise to play the long game. Captain Marvel is not just another wonder woman. She plans to build an army.
    • 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.
    • 54 Metascore
    • 70 Peter Travers
    Jordan, working from a script he conjured up with Ray Wright, is in it for suspense tinged with laughs. But with these two dynamo actresses front and center, this nail-biter keeps you riveted.
    • 71 Metascore
    • 90 Peter Travers
    The Hidden World is the best Dragon yet — an animated action phenom with moonstruck passion in its heart and a spirit that soars.
    • 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.
    • 75 Metascore
    • 80 Peter Travers
    Ruben Brandt, Collector is always a feast for the eyes, but it’s the intellectual curiosity on display that raises the bar.
    • 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.
    • 65 Metascore
    • 70 Peter Travers
    There’s even a new song called “Catchy Song” that you can’t get out of your head no matter how hard you try. (And you will try.) Another tune, “Super Cool,” plays over the end credits simply to extol the coolness of end credits. Lego 2 never stops, which is part of the problem. Can there really be too much of a good thing? [Pause.] Nah.
    • 61 Metascore
    • 60 Peter Travers
    Velvet Buzzsaw is never less than a feast for the eyes even when it reduces the plot to B-level butchery. What’s missing is the potent provocation that Gilroy seemed to be developing at the start.
    • 71 Metascore
    • 70 Peter Travers
    What takes Arctic to the next level is Mikkelsen’s stirringly expressive face. Known for playing villains — the dead-eyed 007 nemesis Le Chiffre in "Casino Royale" and the title killer in the TV series "Hannibal" (2013-2015) — Mikkelsen invests Overgård with a bracing humanity that you root for every step of the way.
    • 91 Metascore
    • 90 Peter Travers
    Technology has allowed Jackson to erase the barriers of time and speak to a new generation about what war does to youth. His humane and heartbreaking film is a profound achievement.
    • 37 Metascore
    • 30 Peter Travers
    The batshit bonkers Serenity fails on every level, first as entertainment and then as a new-agey thumbsucker about a magical, mystical tour through the subconscious. Serenity finds new definitions of bad that almost make the damn thing worth watching for its magnificent flameout.
    • 69 Metascore
    • 80 Peter Travers
    Lit with a poet’s eye by Deschanel and given dramatic heft by von Donnersmarck, Never Look Away lunges at the primitive forces that define our lives. Even when it trips up, it’s never less than exhilarating.
    • 46 Metascore
    • 50 Peter Travers
    An opportunity missed.
    • 75 Metascore
    • 80 Peter Travers
    Kudos to Coogan and Reilly, not just for their gifts of impersonation, but for detailing the bedrock connection at work and play between the two men.
    • 59 Metascore
    • 70 Peter Travers
    Call it RBG: The Early Years.
    • 62 Metascore
    • 70 Peter Travers
    This is Kidman’s show. She neatly negotiates every twist the script throws at her, even when the plot slams into too many dead ends. This is a movie star who knows how to stay the course, no matter how twisty, tangled or down and dirty it gets. She’s dynamite.
    • 46 Metascore
    • 50 Peter Travers
    You wouldn’t be wrong if you’re thinking this wish-fulfillment tale of a working-class woman bum-rushing the corporate world is trying to be a "Working Girl" for millennials. And while it can’t deliver the boundary-pushing kick of that seminal 1988 Melanie Griffith-vs.-the glass ceiling smash, the charms this movie does possess — its star being chief among them — will get you over the gaping plot holes and lackluster dialogue.
    • 90 Metascore
    • 90 Peter Travers
    The writer-director based the couple on his own parents, who bear the same names as his characters. It’s not their story, he’s said — what he’s given us instead is a love story that’s as sexy as it is savage, as tough as it is tender. It’s a spellbinder with a fever that won’t quit.
    • 66 Metascore
    • 60 Peter Travers
    When Blunt and Miranda cut through the film’s glucose overload and take off into the wild blue of their own unique and extraordinary talents, Mary Poppins Returns shows it has the power to leave you deliriously happy.
    • 61 Metascore
    • 80 Peter Travers
    In Vice, the writer-director is tossing grenades every which way — it’s a movie that’s ferociously funny one minute, bleakly sorrowful the next.
    • 55 Metascore
    • 50 Peter Travers
    Aquaman is a mess of clashing tones and shameless silliness, but a relief after all the franchise’s recent superhero gloom. Any budget-busting epic that finds time to show us an octopus playing bongos gets a pass in our book.
    • 58 Metascore
    • 70 Peter Travers
    The Mule is more character study than "Dirty Harry: The Emeritus Years." It’s the detours on the road — the stops along the way that show an old man dealing with the dim possibilities of change near the end of his life — that reveal this drug-mule-in-winter drama as a deeply personal reckoning.
    • 75 Metascore
    • 80 Peter Travers
    The sorrow inherent in this tale would be unbearable without the film’s flashes of humor and performances by a cast of nonprofessionals that are moving beyond measure. Capernaum suffers from being overly long and chaotic in structure, but there’s no mistaking its cumulative effect as an emotional powerhouse.
    • 51 Metascore
    • 60 Peter Travers
    The haunting, hypnotic, palm-sweating score by Trent Reznor and Atticus Ross promises way more than the film delivers. By the way, the birds in the box are meant to set off alarms when the monsters approach. They see way more than we do, which is part of the problem. Why should birds have all the fun?
    • 87 Metascore
    • 90 Peter Travers
    Not only the coolest Spider-Man epic ever, it’s one of the best movies of the year.
    • 87 Metascore
    • 90 Peter Travers
    It’s the sort of cinema that feels steeped in the past, completely of the moment and timeless all at once.
    • 71 Metascore
    • 80 Peter Travers
    A well-researched and richly observant documentary from Alexis Bloom about the climate of lies and systemic abuse that nurtured Ailes and allowed his behavior to flourish.
    • 60 Metascore
    • 70 Peter Travers
    Ronan (Lady Bird) and Robbie (I, Tonya) were both nominated for a Best Actress Oscar last award season, and even when the pace of the film falters, these two performers hold you in thrall. That’s royalty.
    • 66 Metascore
    • 70 Peter Travers
    Ben Is Back ends up becoming into a penetrating look at how addiction wrecks lives from both sides of the parent-child equation. It’s unflinching and unforgettable.
    • 67 Metascore
    • 90 Peter Travers
    You should prepare to be wowed by Natalie Portman, who delivers a take-no-prisoners performance as Celeste, a swaggering rock diva who tends to burn down everything in her path, especially when she’s crossed.
    • 81 Metascore
    • 90 Peter Travers
    Mirai casts a spell that works on children and adults alike, but in different ways. Its creator’s artistry and empathy are the connecting links. It may be the animator’s smallest film, but it stands tall. You’ll be enchanted.
    • 63 Metascore
    • 70 Peter Travers
    In short, this is a genre mash-up has no agenda except providing escapist fun. Mission accomplished.
    • 32 Metascore
    • 20 Peter Travers
    Arriving just in time to win a place among the year’s worst films, Robin Hood — bursting with an entitled sense of its own non-existent coolness — falls flat on its fat one.
    • 93 Metascore
    • 90 Peter Travers
    It’s impossible to experience the deep-seated compassion of this film and not be moved to tears.
    • 90 Metascore
    • 100 Peter Travers
    You know how some costume epics can be such a bloody bore? Not The Favourite. It’s a bawdy, brilliant triumph, directed by Greek auteur Yorgos Lanthimos with all the artistic reach and renegade deviltry he brought to Dogtooth (2009), The Lobster (2015) and The Killing of a Sacred Deer (2017).
    • 96 Metascore
    • 100 Peter Travers
    If a thing of beauty is a joy forever, as John Keats famously said, then the surpassing loveliness and bracing brilliance of Alfonso Cuarón’s Roma will never pass into nothingness.
    • 52 Metascore
    • 60 Peter Travers
    At 134 minutes, Grindelwald can feel like an overload of homework on which we’ll we tested later. Fine for Pottermores, but a trial for us Muggles.
    • 76 Metascore
    • 80 Peter Travers
    As the director puts it: “This movie is an accumulation of scenes based on Van Gogh’s letters, common agreement about events in his life that parade as facts, hearsay and scenes that are just plain invented. This is not a forensic biography about the painter. It is about what it is to be an artist.”
    • 69 Metascore
    • 80 Peter Travers
    Green Book is a movie about class as well as race, and Farrelly rightly refuses to paint a pretty picture.
    • 84 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.
    • 51 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.
    • 79 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.

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