Peter Travers

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For 3,204 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 The Fugitive
Lowest review score: 0 Annie
Score distribution:
3204 movie reviews
    • 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.
    • 68 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.

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