Peter Debruge

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For 1,077 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 0.1 points lower than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Anomalisa
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
1077 movie reviews
    • 44 Metascore
    • 40 Peter Debruge
    The movie doesn’t show a complex enough representation of either adult life or the New York literary world to offer much depth to grownups (it’s far more engaged with Joanna’s romantic life and dream sequences set at the Waldorf Astoria), which means that My Salinger Year must have been intended to inspire young women for whom 1995 seems like the ancient past.
    • 56 Metascore
    • 50 Peter Debruge
    The emperor is naked, Greed wants us to realize, but unless we agree to radically rethink our own wardrobes, does it make any difference?
    • 81 Metascore
    • 70 Peter Debruge
    While Premature may seem less professional than your average Sundance movie (much less entry-level studio fare), that doesn’t diminish what’s fresh, vulnerable and true about the film.
    • 21 Metascore
    • 30 Peter Debruge
    The finished film plays at times like an out-of-control pitch meeting, lurching from one ostensibly clever idea to the next without having taken the trouble to connect the dots, or even to remain consistent with the two simple rules it sets out for itself.
    • 71 Metascore
    • 80 Peter Debruge
    With Weinstein on the ropes, Macfarlane pulls no punches, doing a fair but unflinching job of letting those he once dominated share their narrative. That they do so on camera makes what they have to say that much more impactful, and Macfarlane does their testimony justice, delivering a hard-hitting documentary that speaks truth to power.
    • 54 Metascore
    • 50 Peter Debruge
    The trouble with “P.S. I Still Love You” is that nearly all the reasons that Lara Jean makes such a refreshingly different romantic lead are contained in the earlier film, and here, she’s reduced to a version of the passive Disney princess, trying to decide between two dudes who both think she’s swell.
    • 74 Metascore
    • 70 Peter Debruge
    Ultimately, Boys State works because the “characters” are so compelling.
    • 77 Metascore
    • 90 Peter Debruge
    Nine Days is that rare work of art that invites you to re-consider your entire worldview.
    • 71 Metascore
    • 80 Peter Debruge
    Falling is unpretentious and perfectly accessible to mainstream audiences. Mortensen’s patience, his way with actors and his trust in our intelligence are not unlike late-career Eastwood, which isn’t a bad place to be so early in one’s directing career.
    • 88 Metascore
    • 90 Peter Debruge
    Chung transforms the specificity of his upbringing into something warm, tender and universal.
    • 45 Metascore
    • 70 Peter Debruge
    This isn’t an easy role, but Lively aces it.
    • 83 Metascore
    • 80 Peter Debruge
    It’s an irreverent take on a form where earlier iterations were obliged to take themselves seriously. And somehow that liberates what felt like a slick but ironic riff on a tired genre to do something sincere.
    • 69 Metascore
    • 80 Peter Debruge
    This fleet-footed, kaleidoscopic showcase is all about finding your voice so that the world can start to appreciate what it doesn’t know about those it hears from far too seldom.
    • 80 Metascore
    • 80 Peter Debruge
    Movies almost never deal with the intricacies of marriage: finances, schooling, finding the right work-life balance. By contrast, The Nest burrows into the minutiae, and the rewards of going along with the O’Haras are worth it, at least for those willing to risk the frustration of a movie that plays by its own rules and doesn’t necessarily believe in happy endings.
    • 54 Metascore
    • 40 Peter Debruge
    What felt so revolutionary in 2012 is no less visionary today, but packs a disappointing sense of familiarity this time around, like tearing open your Christmas presents to find … a huge stack of hand-me-down clothing. Or else, like watching a magic trick performed a second time from a different angle.
    • 84 Metascore
    • 80 Peter Debruge
    Rather than presenting another puzzle with important pieces missing, with this project, Decker provides more material than we know what to do with, and the resulting prism feels intellectually rewarding, no matter the angle from which we choose to approach it.
    • 72 Metascore
    • 70 Peter Debruge
    Better late than never, this film is Blank’s shot, and by staying so true to her voice, her aim hits home.
    • 80 Metascore
    • 80 Peter Debruge
    In the end, Kajillionaire is less about the con than it is the connection, and we’re all the richer as a result.
    • 73 Metascore
    • 90 Peter Debruge
    Many filmmakers mistakenly think that exploiting tragedy is the way to jerk tears from their audience, when in fact, gestures of spontaneous kindness shown by near-strangers can be most moving — something Lloyd understands, boosting the positive energy with anthems like “Chandelier” and “Bulletproof.”
    • 62 Metascore
    • 60 Peter Debruge
    Ironbark’s hook is that it’s based on true events, and the underlying history deserves to be shared.
    • 78 Metascore
    • 80 Peter Debruge
    The movie succeeds in enlightening without ever coming across as an “eat your spinach” civics lesson.
    • 76 Metascore
    • 90 Peter Debruge
    To get the desired emotional reaction, The Painter and the Thief proves able to deceive in ways that are best discovered for yourself. It works: In a genius final stroke, Ree pulls back to reveal the entire canvas, putting key aspects of this unconventional portrait into startling new perspective.
    • 72 Metascore
    • 50 Peter Debruge
    Sure, it’s fun to see a movie skewer the vapid soullessness of social media and the unregulated economy of male desire, but Zola ultimately rings hollow. The actors are fearless, and yet, how much do we know about these characters in the end? The answer: something of their values, but almost nothing of their lives.
    • tbd Metascore
    • 50 Peter Debruge
    Although the entire film runs just 87 minutes, as Lucky Grandma unspools, Wong’s predicament starts to feel increasingly outlandish, making it difficult for Sealy to sustain the offbeat humor and strong momentum of the opening stretch.
    • tbd Metascore
    • 70 Peter Debruge
    Gordon uses blockbuster tools — pairing bold visuals with the kind of thundering sound design that makes your joints rattle — to turn his well-organized sociology lesson into a more visceral cinematic experience. More than just a compelling TED Talk, it’s an urgent and engaging call to action.
    • 75 Metascore
    • 90 Peter Debruge
    In the end, the story’s custom reenactment gimmick may not even have been necessary, so well-written and executed is the personal journey that underlies it.
    • 71 Metascore
    • 70 Peter Debruge
    All of this makes for compelling dramatic conflict, and it’s satisfying to watch an impostor shake up the status quo. But there’s also a soap opera-like dimension to Corpus Christi that threatens the more thoughtful aspects of the script.
    • 39 Metascore
    • 30 Peter Debruge
    As audiences, we trust filmmakers to do a reasonably accurate job of representing stories based in truth, and we get angry when they take the kind of liberties Avnet and company allow themselves here. As if it weren’t bad enough that Three Christs were boring, it’s impossible to believe, and for that, there is no cure.
    • 72 Metascore
    • 60 Peter Debruge
    Shinkai hasn’t gone far enough into fantasy to excuse the enormous holes in his script, though he does a nice job of distracting us with detail.
    • 75 Metascore
    • 90 Peter Debruge
    Story’s an original, and the film is a revelation — a movie that’s as deep as we’re willing to read into it, and an invaluable time capsule for summers far in our future, assuming we ever get there.

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