Peter Travers

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For 3,214 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 Kill Bill: Vol. 2
Lowest review score: 0 Premonition
Score distribution:
3214 movie reviews
    • 69 Metascore
    • 70 Peter Travers
    Tyrnauer’s flashes of compassion for this self-hating Jew and homosexual — taught from childhood to feel ashamed of what he was and who he was — remind us that his subject’s toxic, insidious amorality did not go to the grave with him. It’s all around us, among opportunists still looking for their own Roy Cohn — just one of several reasons why Tyrnauer’s doc hits you like a punch in the gut.
    • 64 Metascore
    • 60 Peter Travers
    The actors have a ball with the fun and games. And you will, too, unless — as noted — you and the TV series have never crossed paths.
    • 80 Metascore
    • 80 Peter Travers
    Gray’s filmmaking is tremendously exciting.
    • 40 Metascore
    • 20 Peter Travers
    The only achievement in transferring The Goldfinch from page to screen is that it’s a botch job for the ages.
    • 79 Metascore
    • 80 Peter Travers
    A Best Actress Oscar nomination for Jennifer Lopez? You better believe it. Her see-it-to-believe-it performance in Hustlers is that dazzling, that deep, that electrifying.
    • 58 Metascore
    • 60 Peter Travers
    So what’s the problem? For starters, It: Chapter Two is an ass-numbing two hours and 50 minutes. That’s a good half-hour longer than Chapter One, proving the adage that less is definitely more. The dragging pace diminishes the film’s ability to hold us in its grip.
    • 64 Metascore
    • 60 Peter Travers
    Official Secrets remains a compelling tale of injustice on an individual and global level. It’s a shame that it hasn’t been told better, but give it points for being told at all.
    • 64 Metascore
    • 70 Peter Travers
    The wow factor of Ready or Not helps you jump the hurdles of any plot predictability.
    • 80 Metascore
    • 80 Peter Travers
    Fiddler: A Miracle of Miracles makes itself essential viewing by chronicling the turbulent genesis of a global sensation. But its real miracle is demonstrating why it continues to entertain and illuminate, from Tokyo to a Brooklyn middle school where an African-American girl now plays the role of Tevye’s wife, Golde, and back to Broadway.
    • 74 Metascore
    • 80 Peter Travers
    A fun ride, spiked with touching gravity, is not a shabby way to end the movie summer. Thanks to Jillian Bell, a comic force of nature with real dramatic chops, that’s what you get in Brittany Runs a Marathon.
    • 80 Metascore
    • 80 Peter Travers
    This eyepopper from Russian director-writer-cinematographer-editor Victor Kossakovsky (¡Vivan Las Antípodas!) is like nothing you’ve ever seen. His free-form documentary on water opens by scaring us to death.
    • 51 Metascore
    • 50 Peter Travers
    It’s the human devastation that gets short shrift in a movie that turns the hot, hilarious, out-for-blood Bernadette into the thing she hates most: conventional.
    • 71 Metascore
    • 80 Peter Travers
    Sure it’s cornball, but Chadha revels in it. You will, too, as the movie becomes an irresistible blast of pure feeling.
    • 60 Metascore
    • 50 Peter Travers
    Good Boys rides highest on the teamwork of its three young stars.
    • 58 Metascore
    • 60 Peter Travers
    The proceedings are raised when Hodge is onscreen, using every nuanced look and gesture to jump the hurdles of a banal script and reveal the pain tearing up Banks. Having made a mark in films like "Straight Outta Compton" and "Hidden Figures," and on TV in "City on a Hill," Hodge hits new heights of commitment.
    • 36 Metascore
    • 20 Peter Travers
    The Kitchen is deadly serious — and worse, deadly dull, even when it tries to act tough by laying on the violence and a heaping side of gore.
    • 43 Metascore
    • 50 Peter Travers
    When the movie stalls, it’s Enzo to the rescue. Since the film covers a decade in the lives of its characters, two dogs take turns playing Enzo, at age 2 and 9. They’re both picks of the litters. And Ventimiglia contributes an emotional honesty that serves him well even when the plot sinks into marshmallow.
    • 60 Metascore
    • 60 Peter Travers
    Whatever this is, it’s not a movie — it’s a product more deserving of a road test than a review.
    • 73 Metascore
    • 80 Peter Travers
    It’s riveting from start to finish.
    • 58 Metascore
    • 50 Peter Travers
    The swerve into bizarre melodrama in the final third knocks the film permanently off course, reducing a potentially rich examination of religious extremism into a missed opportunity.
    • 76 Metascore
    • 80 Peter Travers
    Australian writer-director Jennifer Kent creates a woman’s revenge tale fueled by a righteous anger at the evil men do. There’s not a whit of audience coddling. You’ve been warned.
    • 58 Metascore
    • 70 Peter Travers
    There are times when Skin can seem naïve and manipulative, almost in the same breath, which takes the film perhaps too long to get its bearings. But Bell is the binding force that locks us into Widner’s tumultuous journey.
    • 83 Metascore
    • 90 Peter Travers
    All the actors, in roles large and small, bring their A games to the film. Two hours and 40 minutes can feel long for some. I wouldn’t change a frame.
    • 80 Metascore
    • 90 Peter Travers
    What makes David Crosby: Remember My Name one of the best rock documentaries of all time is the no-bull immediacy of the filmmaking.
    • 55 Metascore
    • 50 Peter Travers
    What’s missing? Let’s start with intangibles such as heart, soul and the faintest hint of originality.
    • 65 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.
    • 90 Metascore
    • 90 Peter Travers
    In The Farewell, Wang builds a funny, touching and vital film about what makes a family in any culture. It’s simply stunning.
    • 72 Metascore
    • 80 Peter Travers
    Ari Aster is a bold new voice in psychological horror, the kind that messes ruthlessly with your head. He proved that last year with "Hereditary," featuring Toni Colette in one of cinema’s most memorable meltdowns. And now, with the hypnotic and haunting Midsommar, he ventures into fresh territory without losing his grasp of what nightmares are made of.
    • 69 Metascore
    • 70 Peter Travers
    There’s no contrived digital sleight-of-hand in Spider-Man: Far From Home that can match what Holland does: He makes the MCU feel new again.

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