Peter Travers

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For 3,182 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 Requiem for a Dream
Lowest review score: 0 Ghost Rider: Spirit of Vengeance
Score distribution:
3182 movie reviews
    • 95 Metascore
    • 100 Peter Travers
    Keep your eyes on Garfield - he's shatteringly good, the soul of a film that might otherwise be without one. The Social Network is the movie of the year. But Fincher and Sorkin triumph by taking it further. Lacing their scathing wit with an aching sadness, they define the dark irony of the past decade.
    • 59 Metascore
    • 50 Peter Travers
    Maybe money never sleeps, but this missed opportunity of a movie will have audiences dozing.
    • 65 Metascore
    • 50 Peter Travers
    Ninety minutes of being buried alive with Ryan Reynolds: Didn't we all suffer that in "The Proposal"?
    • 81 Metascore
    • 88 Peter Travers
    This movie isn't just a necessity (listen up, do-nothing politicians) - it might change your future.
    • 79 Metascore
    • 75 Peter Travers
    Reeves plugs in a live wire to play Abby, the girl vampire who's been 12 for, well, a very long time. That would be Chloë Grace Moretz, an acting dynamo (see Kick-Ass) whose mesmerizing performance goes deep.
    • 39 Metascore
    • 12 Peter Travers
    This is crap as we know it, a 113 minute package of romcom suck.
    • 63 Metascore
    • 75 Peter Travers
    I don't blame you for backing off a movie that focuses on a suicidal teen who learns warm life lessons by spending five days in a Brooklyn hospital's psych ward. Stop worrying. It's Kind of a Funny Story, based on Ned Vizzini's semiautobiographical novel, breaks the jinx.
    • 61 Metascore
    • 63 Peter Travers
    If it's hip to be square, then this racehorse movie is the ultimate in cornball cool.
    • 67 Metascore
    • 75 Peter Travers
    Johnson doesn't resemble, much less embody, Lennon, but he does catch his distinctive glint of mischief tinged with pain. Duff and Scott Thomas are both exceptional, revealing how John's relationship with these two clashing sisters marked his character.
    • 56 Metascore
    • 63 Peter Travers
    Knoxville and his boys seem to be saying goodbye. To which I can't help thinking, fondly, it's time.
    • 94 Metascore
    • 88 Peter Travers
    The movie crawls hypnotically into the skin of this global assassin and astonishes you with its brazenly violent and sexual audacity.
    • 69 Metascore
    • 88 Peter Travers
    The acting is dynamite, notably by Dillon and Newton in their shocking second encounter. Despite its preachy moments, the film is a knockout.
    • 81 Metascore
    • 88 Peter Travers
    Freeman's nuanced acting is a marvel.
    • 40 Metascore
    • 50 Peter Travers
    It's all a jumble and, worse, a damned impersonal one.
    • 59 Metascore
    • 88 Peter Travers
    If Ridley Scott's Alien (1979) had more surprises and James Cameron's Aliens (1986) more thrills, David Fincher's austere, low-tech, darkly funny Alien 3 has more sharply observed characters.
    • 58 Metascore
    • 63 Peter Travers
    What saves Point Break from wipeout is Kathryn Bigelow's direction. Though the film lacks the formal beauty and allure of her Near Dark and Blue Steel, Bigelow keeps the action percolating in high style.
    • 52 Metascore
    • 0 Peter Travers
    You can see most of the plugs in the trailer. As most fans of the early, better Bond films know, the only life left in the series is in the gadgets....As for humor, Brosnan can deaden a double-entendre faster than he can change outfits.
    • 68 Metascore
    • 75 Peter Travers
    Burton uses the summer's most explosively entertaining movie to lead us back into the liberating darkness of dreams.
    • 80 Metascore
    • 88 Peter Travers
    McNaughton has made a film of clutching terror that's meant to heighten our awareness instead of dulling it. At the end, Henry is still out there among us. And he's no B-movie monster in a hockey mask. He could be the guy next door. This film gives off a dark chill that follows you all the way home.
    • 32 Metascore
    • 38 Peter Travers
    All cast members seem willing to make total fools of themselves for our delectation. A fine but futile gesture. The bad news is that even with such yeoman efforts, it's still impossible to drag one tired joke around for nearly two hours. Like Bernie, the movie ends up dead on its feet.
    • 46 Metascore
    • 75 Peter Travers
    You won't feel too much like a jerk watching this rock & roll hostage comedy. There are laugh licks and spirited performances. It's fluff done with flair
    • 97 Metascore
    • 100 Peter Travers
    Throughout his life, Brown refused to give in to public convention or his own despair; he wouldn't play the victim. Brown labored to express all of his feelings, not just the acceptable ones. Day Lewis works the same way. My Left Foot, a keen match of actor and subject, stands as an eloquent tribute to the talents of both.
    • 45 Metascore
    • 0 Peter Travers
    Somewhere along the line, Shanley let his gentle fable about the fear of love, responsibility and commitment degenerate into crude farce. And he has only himself to blame.
    • 53 Metascore
    • 50 Peter Travers
    For a while, The Dark Half is a compelling study, in chiller guise, of an artist wrestling with his creative demons. But Stark is a real terror only in the shadows. When he emerges, all we see is Hutton — in a showy makeup job — struggling to change his wimp image.
    • 63 Metascore
    • 63 Peter Travers
    Bad Influence will do in a pinch if you're starved for intrigue. For a while, it's nasty fun watching Michael sink into depravity. Erotic and spine tingling, this thriller has undeniable allure. But Bad Influence lacks daring, moral ambiguity and the pleasures of the unexpected, the elements that might give it distinction.
    • 65 Metascore
    • 38 Peter Travers
    Even the stalwart Nolte drowns in the laughable idiocy of the Wingo-Lowenstein love affair, which lifts Tides to the fiasco class.
    • 64 Metascore
    • 38 Peter Travers
    Regrettably, Bergman can't do much with a one-note script by Jane Anderson that reduces Perez to a grating cliché, Cage and Fonda to a parody of Ken and Barbie and our interest in what could happen to them to dry ash.
    • 65 Metascore
    • 50 Peter Travers
    The satire loses its edge as the filmmakers wrongheadedly try to humanize this nest of vipers. Soapdish is more fun when it's spitting venom than when it's licking wounds.
    • 56 Metascore
    • 88 Peter Travers
    The flaws don't cripple what is a fiercely funny, exciting and provocative detective story about the crimes of corporate culture — crimes that transcend race and geography.
    • 60 Metascore
    • 50 Peter Travers
    Dalton has training in classical theater; he has pedigree, looks, class. But as Bond he is – face it – dull as dirt. Too much spoofing is bad (see Moore), none is deadly (see Dalton).
    • 40 Metascore
    • 38 Peter Travers
    What's good? A mesmeric, bottle-blond Christopher Walken as Max Zorin, hellbent on global domination as a product of Nazi experiments, Grace Jones' zowie star at his henchman, and Duran Duran's title song. Otherwise, I'm out.
    • 43 Metascore
    • 50 Peter Travers
    Roger Moore already seems winded in his second outing as Bond. And the film's comedic approach to martial arts justly rankles true 007 afficionados. Compensation comes in the form of Christopher Lee's delicious take on evil as Scaramanga and Herve Villechaize's verve as Nick Nack, Scaramanga's dwarf manservant.
    • 55 Metascore
    • 50 Peter Travers
    Gadgets abound, especially a Lotus sports car that transforms into a submarine. But the scene-stealer is 7'2" Richard Kiel as Jaws, a shark-eating man with steel teeth.
    • 57 Metascore
    • 38 Peter Travers
    Whatever qualms you might have about romanticizing mental illness, the misguided Benny and Joon thinks it's just darling.
    • 61 Metascore
    • 88 Peter Travers
    From the Eastern flavor of the opening theme, hauntingly sung by Nancy Sinatra, to the Japanese setting, the fifth film is the Bond series just gets better and cooler with age. The tasty script by Roald Dahl junks most of the Fleming novel, spinning its own witty Cold War fantasy.
    • 58 Metascore
    • 38 Peter Travers
    Drab in the extreme. Timothy Dalton's second and wheezing, final turn as 007 was barely recognizable as a Bond film.
    • 43 Metascore
    • 38 Peter Travers
    This lumbering retread, subtitled The Legend of Curly's Gold, is mostly old ground slavishly covered. There are wider gaps between the jokes this time, and the slick style of British director Paul Weiland, best known for commercials (Schweppes, Heineken), can't disguise the fact that he's selling stale goods.
    • 56 Metascore
    • 75 Peter Travers
    It's risky making an action picture that breaks its violent stride to emphasize the difficulties of living up to preconceived ideas of masculinity. But it's that risk that makes Black Rain distinctive. By refusing to beat its Eastern and Western protagonists into comic-book pulp, the movie pays them, and the audience, a rare compliment.
    • 47 Metascore
    • 38 Peter Travers
    What's lacking is emotional weight. It's sad to watch a talented cast, including Bill Nunn as Henry's physical therapist and Donald Moffat, Rebecca Miller and Kirby Mitchell as co-workers, selling bromides.
    • 72 Metascore
    • 75 Peter Travers
    Even readers with reservations about the ways the film fails to measure up to the book should appreciate a smart, passionate, steadily engrossing thriller in a summer of mindless zap.
    • 56 Metascore
    • 25 Peter Travers
    I am really sick of people going easy on this dud remake...Instead of the luminous Audrey Hepburn as Sabrina, the awkward chauffeur's daughter who goes to Paris and comes back a swan, we have Julia Ormond, a decent actress without an ounce of the movie-star glamour the part demands. Instead of Humphrey Bogart as Linus, the elder boss-man brother on the Long Island, N.Y., estate where Sabrina's father works, we have Harrison Ford at his most dour.
    • 92 Metascore
    • 100 Peter Travers
    With Apocalypse Now Redux — one for the ages when it comes to the moral battles of war — Coppola has reached the finish line at last. It smells like victory.
    • 69 Metascore
    • 75 Peter Travers
    In Guncrazy, Davis delivers pow entertainment with a twist: It matters.
    • 67 Metascore
    • 50 Peter Travers
    Shelton obviously wants to distill something innocent and romantic from a relationship the world saw as sleazy. A noble mission. But he's left out a few essentials — like the facts.
    • 64 Metascore
    • 50 Peter Travers
    Winkler's script creaks with melodrama, especially in the scenes with Merrill and his ex-wife, Ruth (Annette Bening), though Bening gives the role spine. Director Winkler fails to modulate the performances.
    • 85 Metascore
    • 88 Peter Travers
    When a forty-four-year-old man makes a movie about his family and friends sitting around singing old tunes, you certainly don't expect an unforgettable amalgam of humor and heartbreak. But that is precisely what Terence Davies delivers.
    • 68 Metascore
    • 100 Peter Travers
    Jarmusch is a true visionary; he knows his films can't bring order to the ravishing chaos around him, but he can't resist the fun of trying. In this compassionate comedy of missed connections, he makes us see the ordinary in fresh and pertinent ways. But the flickers of humanity in those taxis are soon dulled by barriers of time, sex, race, language and money. They are flickers in a vast emotional void.
    • 66 Metascore
    • 88 Peter Travers
    Shelton's strong, stinging film — one of the year's best — wants to get at something ingrained in the American character: the irrational desire to make saints of sports heroes.
    • 61 Metascore
    • 88 Peter Travers
    Mamet's incendiary writing and the potent performances are teasingly ambiguous. Though he exposes the widening gulf between the sexes, Mamet leaves the audience to find ways to explain it. That's what makes Oleanna such a powerhouse; it's a brilliant dare.
    • 80 Metascore
    • 88 Peter Travers
    This bracing, original comedy may be mostly smoke and air, but it's not insubstantial. Mystery Train insinuates itself into the memory and lingers on.
    • 84 Metascore
    • 100 Peter Travers
    Purposely out of step with the feel-good-movie era, he offers caustic wit instead of gags, blunt questions instead of glib answers and challenges instead of reassurances. Bless him.
    • 61 Metascore
    • 63 Peter Travers
    An almost-there comedy with diverting compensations.
    • Rolling Stone
    • 78 Metascore
    • 100 Peter Travers
    A hot-wired crime thriller that captures Thompson's flair for hard action, malicious wit and fevered eroticism.
    • 25 Metascore
    • 25 Peter Travers
    Plot analysis is useless, since the film's fate rests with MTV comic Shore in his feature debut.
    • 70 Metascore
    • 75 Peter Travers
    Schrader is out there again, testing the limits of audience tolerance. Good for him. Buoyed by his questing spirit and Dafoe's mesmerizing performance, Light Sleeper might just keep you up nights.
    • 89 Metascore
    • 100 Peter Travers
    A riveting screen adventure.
    • 59 Metascore
    • 63 Peter Travers
    Forrest Gump lives in spirit in this overbearing tear-jerker that takes two and a half hours to cover three baby-boom decades in an effort to prove that nice guys finish first, at least in the hearts of academy voters.
    • 64 Metascore
    • 63 Peter Travers
    When Short is onscreen, a movie that provides only fitful laughter bubbles over into bliss.
    • 67 Metascore
    • 75 Peter Travers
    Alice may be a minor work in the Allen canon, but when its grace notes manage to be heard above the whimsy, they ring true.
    • 82 Metascore
    • 88 Peter Travers
    Tim Burton's Nightmare Before Christmas restores originality and daring to the Halloween genre. This dazzling mix of fun and fright also explodes the notion that animation is kid stuff. The history-making stop-motion animation in this $20 million charmer transcends age. It's 74 minutes of timeless movie magic.
    • 50 Metascore
    • 38 Peter Travers
    Williams is an actor of protean gifts, a super pitchman when it comes to putting across flimsy material (Dead Poets Society). But even he can't palm off this lemon as a peach. When it's not being offensive, Ken Friedman's screenplay is merely oafish.
    • 81 Metascore
    • 100 Peter Travers
    The acting by Esposito and Jackson is exceptional, but it is on the remarkable face of Nelson that Yakin shows what gets lost when a child beats criminals at their own game.
    • 89 Metascore
    • 100 Peter Travers
    Comedy and tragedy cohere in this extraordinary film of Alan Bennett's play.
    • 92 Metascore
    • 100 Peter Travers
    Brother's Keeper has the texture, emotion and raw urgency of a Woody Guthrie anthem -- it keeps coming back to haunt you.
    • 80 Metascore
    • 88 Peter Travers
    Bugsy is less an indictment of the dark side than a black-comic look at our continuing fascination with it. Even when this powerhouse entertainment trips on its ambitions, you can't shake it off.
    • 100 Metascore
    • 100 Peter Travers
    The film leaps off the screen with a thrilling immediacy.
    • 62 Metascore
    • 50 Peter Travers
    Despite the lofty tone of his literary, artistic and metaphysical allusions, Greenaway is working the same streets of human depravity as John Waters; he's just more pretentious about it. At best, Greenaway's film is a provocative and diabolically funny foray into the roots of passion and cruelty. At worst, the symbolic bric-a-brac gets so thick you lose sight of the characters.
    • 35 Metascore
    • 25 Peter Travers
    There's no telling how the unflatteringly photographed Applegate delivers a comic line on the big screen, because Tara Ison and Neil Landau haven't written her any. And it's painful to see pros like Joanna Cassidy and John Getz stuck in this sewage. Director Stephen Herek does what you'd expect from the man who gave us Critters and Bill & Ted's Excellent Adventure, i.e., grinds out the film equivalent of processed cheese.
    • 66 Metascore
    • 63 Peter Travers
    Forgive the airhead plot that hinges on a spaceship crash-landing in the swimming pool of a Valley-girl manicurist, played by Geena Davis. The fun comes from Temple's protean visual wit and the irresistible charm of Davis, who just won an Oscar for her role in The Accidental Tourist. The agreeably tacky Earth Girls earns points for warmth, color and high spirits.
    • 56 Metascore
    • 75 Peter Travers
    No use fighting it. this laugh-getting, tear-jerking, part-affecting, part-appalling display of audience manipulation is practically critic-proof...The result can best be described as shamelessly entertaining.
    • 51 Metascore
    • 38 Peter Travers
    For stranding these talents in a one-gag movie that wears thin somewhere between the first choir practice and the second chase, the filmmakers should say a sincere Act of Contrition.
    • 63 Metascore
    • 50 Peter Travers
    Just what we didn't need: another kick-ass cop flick in which we know the guys are macho because they rough up their wives and the gals are hot because they totter on spike heels like hookers.
    • 72 Metascore
    • 75 Peter Travers
    This thriller is so gritty it could chafe your eyeballs...Miami Blues is high on its own malevolence.
    • 63 Metascore
    • 50 Peter Travers
    Don Roos's script for Single White Female, from the 1990 potboiler SWF Seeks Same, by John Lutz, is as empty as a hack's head. Schroeder goes through the motions — the movie is elegantly made — but this synthetic Hollywood package panders shamelessly to the baser instincts.
    • 67 Metascore
    • 75 Peter Travers
    By spinning something fresh out of something familiar, Reality Bites scores the first comedy knockout of the new year. It also brings out the vibrant best in Winona Ryder and Ethan Hawke as friends who resist being lovers, makes a star of Janeane Garofalo as their tart-tongued buddy and puts Ben Stiller on the map as a director.
    • 42 Metascore
    • 25 Peter Travers
    It's difficult to imagine a summer film programmed more cynically than this repugnant sequel. RoboCop 2 is all machine, and it's all vile.
    • 63 Metascore
    • 100 Peter Travers
    Cautionary tales aren't new. What sets Kids apart as daringly original, touching and alive is its authenticity.
    • 83 Metascore
    • 100 Peter Travers
    This rip-roaring Irish comedy is the freshest surprise of the season.
    • 56 Metascore
    • 50 Peter Travers
    Carrey knocks himself out trying to make The Cable Guy different, then neglects the quiet, telling moments that would make it real.
    • 40 Metascore
    • 50 Peter Travers
    To cut Toys a minor break, it is ambitious. It is also a gimmicky, obvious and pious bore, not to mention overproduced and overlong.
    • 61 Metascore
    • 75 Peter Travers
    Director Paul Schrader has fashioned a film of surpassing creepiness. It's pretentious, too, and sometimes maddeningly dull. But the erotically unsettling atmosphere – exquisitely rendered by cinematographer Dante Spinotti – soon seeps in.
    • 71 Metascore
    • 88 Peter Travers
    It's the scenes of the boys on horseback, riding this moonbeam of a movie to a fairy-tale ending, that provide the essential ingredient: a sense of wonder.
    • 86 Metascore
    • 100 Peter Travers
    Besides the in jokes, the animation and the Alan Menken score supply enough glorious entertainment to hold even brats and cynics in thrall.
    • 60 Metascore
    • 63 Peter Travers
    The movie is marred by overkill, especially in the brutal and bloated allegorical ending, which feels lifted, clumsily, from The Godfather. State of Grace is most powerful and gripping when it stays true to the emotions of its characters.
    • 78 Metascore
    • 100 Peter Travers
    The exquisitely wrought tale of four British women of different backgrounds who rent a villa in Portofino, Italy, is delivered with a witty feminist twist by director Mike Newell (Dance With a Stranger) and an outstanding cast.
    • 79 Metascore
    • 80 Peter Travers
    The antique charms of the story can still seduce us when done well, and director Jean-Paul Rappeneau, who freely adapted the play with Jean-Claude Carrière, knows how to fashion a sumptuously beautiful, hugely entertaining spectacle that also stays alert to the cadences of the heart.
    • 87 Metascore
    • 100 Peter Travers
    For dynamite suspense loaded with thrills and wicked fun, you can’t beat The Fugitive — the summer’s best action blaster.
    • 37 Metascore
    • 30 Peter Travers
    The Beverly Hillbillies is not, as the saying goes, a critic’s picture. Still, you want to root for a movie that wallows without shame in leering, fatuous humor. I did — for about 15 minutes — then the sameness set in like an overdose of Beavis and Butt-Head.
    • 54 Metascore
    • 50 Peter Travers
    Take this walk for the appetizing scenery, which includes Reeves and Sanchez-Gijon. The rest deserves squashing.
    • 65 Metascore
    • 50 Peter Travers
    What Shelton fails to provide is a coherent structure; the film is wearyingly repetitive. The boys do the same hustle and hurl the same racial epithets as our goodwill dribbles away.
    • 76 Metascore
    • 80 Peter Travers
    A delicate gem.
    • 47 Metascore
    • 25 Peter Travers
    The first Young Guns, in 1988, was an endurance test for all but those who think ogling young actors in tight britches is a fascinating way to spend two hours. Though it seems impossible, the sequel is even more excruciating.
    • 64 Metascore
    • 75 Peter Travers
    John waters and Kathleen Turner bring out the sicko best in each other in Serial Mom. It’s a killingly funny spoof of crime and nonpunishment that couldn’t have come at a better time for us or them.
    • 85 Metascore
    • 70 Peter Travers
    Pfeiffer is a knockout; she’s the sexiest presence in movies today and an exceptional comic and dramatic actress, to boot.
    • 100 Metascore
    • 100 Peter Travers
    This dizzyingly intricate film reveals new facets each time you see it. We leave Vertigo unsettled, like Scottie, who ends up on the edge of a precipice. Hitchcock is daring us to leap. He has prepared the ultimate fix for a cinema junkie: a movie to get lost in.
    • 65 Metascore
    • 50 Peter Travers
    The new Body Snatchers is the most graphic of all, featuring more overt violence and decomposing flesh than the other two films combined. But it sorely lacks the focus and resonance of its predecessors.
    • 73 Metascore
    • 50 Peter Travers
    It’s the old Monkees trick: If you can’t find a band, manufacture one. British director Alan Parker (Fame, Mississippi Burning) lucks out. The dozen unknowns he’s chosen — ten with no previous acting credits — make a joyful noise and rousing company. Parker, however, hasn’t made much of a movie.
    • 74 Metascore
    • 50 Peter Travers
    The problem for Gary Trousdale and Kirk Wise, who also co-directed Beauty and the Beast, is turning a tale of violent love and death into a family film with a happy ending.
    • 70 Metascore
    • 88 Peter Travers
    Robbins’s debut as a director is exceptionally accomplished. He shrewdly balances his sense of purpose with a flair for mischief.
    • 76 Metascore
    • 80 Peter Travers
    Mixing comedy and corn with surprising savvy, Dave is the first political fable of the Clinton era. It’s a winner.
    • 59 Metascore
    • 63 Peter Travers
    Ah-nuld’s swollen belly is the joke — the only one — but director Ivan Reitman (Dave) takes it for a few deft spins.
    • 39 Metascore
    • 63 Peter Travers
    Go Ahead And Scoff. But This cheap-jack sequel to the 1982 cult favorite about a hunky scientist (Dick Durock) turned talking plant delivers more tacky hit-and-miss hilarity than a Cineplex-ful of teen-sex comedies.
    • 61 Metascore
    • 50 Peter Travers
    A film that could have been the first cleareyed view of the jazz world from a black perspective ends as a romanticized fable. For the only time in his remarkable career, Spike Lee has failed to tell it like it is.
    • 48 Metascore
    • 75 Peter Travers
    It’s a savagely funny ride fueled by Araki’s insight and blunt compassion.
    • 65 Metascore
    • 75 Peter Travers
    Araki gives his hypnotic film a raw intensity heightened by a surreal landscape and a jagged score from the likes of Braindead Sound Machine, KMFDM and Coil.
    • 95 Metascore
    • 100 Peter Travers
    The hard action, bracing wit and mournful grace of Peckinpah’s cowboy classic shames every new movie around. It’s a towering achievement that grows more riveting and resonant with the years.
    • 66 Metascore
    • 100 Peter Travers
    Undeniably thrilling and troubling...Dazzling, era-defining.
    • 76 Metascore
    • 75 Peter Travers
    Bigelow's artful handling of the magic & menace of the night is hauntingly apparent.
    • Rolling Stone
    • 19 Metascore
    • 0 Peter Travers
    Limp exercise in erotica...Rourke appears comatose, and Otis, though lovely in or out of her skimpy wardrobe, wears the pained expression of a woman who has accidentally stepped into something squishy and rank.
    • 65 Metascore
    • 40 Peter Travers
    There’s a secondhand feel to the way this gangster movie delivers the goods. Carlito’s Way is haunted by a ghost from De Palma and Pacino’s past — Scarface.
    • 71 Metascore
    • 90 Peter Travers
    Sean Astin is a winner as Rudy Ruettiger, who earns the grades, a place on the scout team and, in 1975, a chance to play... There’s little Rocky-like rah-rah. It’s Ruettiger’s persistence that his teammates and the film celebrate. For that, Rudy earns a rousing cheer.
    • 78 Metascore
    • 40 Peter Travers
    Though the film has an evocative look reminiscent of Matthew Brady’s period photographs, Zwick has stuffed the actors’ mouths with numbing bombast. Glory is a shame.

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