Peter Travers

Select another critic »
For 3,061 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 2.1 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 sex, lies, and videotape
Lowest review score: 0 Terminal
Score distribution:
3061 movie reviews
    • 49 Metascore
    • 75 Peter Travers
    Dazzling, sometimes hilarious and surprisingly emotional documentary.
    • 42 Metascore
    • 25 Peter Travers
    The listless, leaden acting, writing and direction in this breathtakingly stupid bomb-ola defies audiences to stay conscious through its drag-ass 88 minutes.
    • 58 Metascore
    • 63 Peter Travers
    Purists may object to the cuts the filmmakers have made to Chekhov's text in the name of pacing. (And nuts to that tricked-up ending!) But The Seagull still flies on the wings of humor and heartbreak that made it a Chekhov classic in the first place.
    • 42 Metascore
    • 50 Peter Travers
    The snotty rich bastard? That role goes to Eugenio Derbez, Mexico's biggest star, who's allowed to speak a big chunk of his dialogue in Spanish, complete with subtitles. It's the one original idea that this retrofitted Overboard has to offer. The rest of the movie wears out its welcome muy rapido.
    • 42 Metascore
    • 37 Peter Travers
    Mostly, it's a collection of spare suspense parts that someone ransacked at the movie dump and is trying to resell as fresh product. Good luck with that.
    • 75 Metascore
    • 88 Peter Travers
    Davis gives an absolutely electrifying performance that lends the movie a kick of outrageous originality. This Canadian actress, so good in Halt and Catch Fire and one of the best episodes ever of Black Mirror ("San Junipero") takes it to the next level, suggesting even more exciting things to come.
    • 74 Metascore
    • 88 Peter Travers
    A gorgeously acted, written and directed spellbinder.
    • 34 Metascore
    • 12 Peter Travers
    What we have in the misbegotten mess called Kings is a film of countless good intentions – one that starts going bad in its first scene, gets worse form there and then dissolves into pure chaos.
    • 68 Metascore
    • 75 Peter Travers
    Avengers: Infinity War leaves viewers up in the air, feeling exhilarated and cheated at the same time, aching for a closure that never comes ... at least not yet.
    • 55 Metascore
    • 50 Peter Travers
    What we have left in Godard Mon Amour, after the laughs dry up, is a thin sketch of a filmmaker who inspired a hero worship in his young bride that dissolved in squabbling, as had Godard's first marriage to another of his leading ladies, actress Anna Karina.
    • 47 Metascore
    • 50 Peter Travers
    But still: Is it really OK to get off making plus-size jokes just because you tack on a moralizing ending that teaches a lesson about body positivity? Can you have it both ways?
    • 69 Metascore
    • 63 Peter Travers
    Anderson packs the film with atmosphere spiked with intrigue. And Hamm gives his role a James Bond-meets-Don Draper appeal, tossing off one-liners with a weary insouciance. His scenes with Pike give the movie a resonant power it wouldn't otherwise have.
    • 92 Metascore
    • 88 Peter Travers
    Once The Rider hooks you – and believe me, it will – there's no way you will ever forget it.
    • 63 Metascore
    • 75 Peter Travers
    These performers keep you mesmerized, making the most of what they're given even when the film sinks into a swamp of whose-dick-is-bigger competitions and sports clichés about product endorsements.
    • 45 Metascore
    • 50 Peter Travers
    It's easy to root for George. The movie deserves the finger.
    • 67 Metascore
    • 75 Peter Travers
    The film is corrosive in its take on the injustice that allowed Ted to live and prosper in a protective bubble of privilege. Clarke makes it clear that the man himself most likely felt the same way.
    • 80 Metascore
    • 75 Peter Travers
    Sobs are earned the hard way in this moving drama, which grips you with such scrappy humor and no-bull grit and grace that you'll be hooked.
    • 69 Metascore
    • 75 Peter Travers
    Don't get me wrong – the movie lays on the raunch, and there are more gut-busting laughs than you can count. But no one gets objectified or patronized.
    • 82 Metascore
    • 88 Peter Travers
    The acting is flawless, with Simmonds and young Jupe making every minute count. Blunt (Krasinski's wife off screen) is in a class by herself, taking a near-silent role and building a tour de force of expressive emotion.
    • 84 Metascore
    • 88 Peter Travers
    Joaquin Phoenix is simply stupendous in You Were Never Really Here. His performance is damn near flammable — dangerous if you get too close.
    • 32 Metascore
    • 25 Peter Travers
    Enduing a full 120 minutes of this sh*tstorm takes its toll. Bitterness, anger, malice, bad blood – that’s acrimony, baby. And that's what you'll feel if you blow the price of ticket on this hack job.
    • 64 Metascore
    • 75 Peter Travers
    Spielberg's visual inventiveness is unflagging.
    • 63 Metascore
    • 75 Peter Travers
    Foy's performance is something you don't want to miss. Whether spewing f-bombs, kneeing a suspected assailant in the balls, or promising a blowjob to Nate for a few minutes on his secret cell phone, Foy comes on like gangbusters. Fans of her prim, proper regent on "The Crown" are in for a shock.
    • 70 Metascore
    • 75 Peter Travers
    In Final Portrait, art achieves a permanence that trumps an evanescent feast. What holds us through all the exasperating starts and stops is Rush, a live-wire actor of such effortless charisma that we’re drawn to his every utterance and gesture. Hammer, as a stand-in for the audience, can only stare in wonder as we do.
    • 82 Metascore
    • 88 Peter Travers
    As for the animation, it's spectacular in every sense of the word and lifted by a superb Alexandre Desplat score, featuring taiko drums, that marks a new career peak for the Oscar-winning composer of "The Shape of Water."
    • 72 Metascore
    • 88 Peter Travers
    Love, Simon is a John Hughes movie for audiences who just got woke. And for all its attempts not to offend, it's a genuine groundbreaker.
    • 45 Metascore
    • 50 Peter Travers
    Helen Mirren and Donald Sutherland can do anything – except, perhaps, save this sentimental drool bucket of senior cinema.
    • 75 Metascore
    • 75 Peter Travers
    The late actor (Anton Yelchin) brings a sly wit and bruised conscience to the role that marks him again as a consummate actor and another reason that the feverishly hypnotic Thoroughbreds gets inside your head and stays there.
    • 88 Metascore
    • 88 Peter Travers
    Who'd have thought the demise of a kill-happy Russian dictator could leave you laughing helplessly? That's The Death of Stalin for you, a slapstick tragedy – and for the funniest, fiercest comedy of the year so far – from the fertile mind of Armando Iannucci, the British political satirist behind the HBO's Veep and the sensational, Strangelovian In the Loop (2009).
    • 52 Metascore
    • 50 Peter Travers
    Submission – despite valiant performances from Stanley Tucci and Addison Timlin as the parties involved – lacks the spark it needs to spring to life.

Top Trailers